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"content": "\u003cp>The \u003ca href=\"https://www.britannica.com/topic/Hagia-Sophia\" target=\"_blank\" rel=\"noopener noreferrer\">Hagia Sophia cathedral\u003c/a> in Istanbul is incredibly reverberant — a sound will echo around and remain audible for eleven seconds. That reverberance shaped nearly a thousand years of music written to be performed inside the cathedral. But no one has been able to listen to what it’s like to hear a church choir sing inside the Hagia Sophia for over 500 years. That is, until now.\u003c/p>\n\u003cp>[aside tag='california-sounds' label='Related Coverage.']When the Hagia Sophia was completed in 537 AD, it was the largest building in the world, and for a thousand years it was the biggest cathedral on the planet. Countless songs were written for the acoustics of the Hagia Sophia. The architecture of this one building influenced the whole trajectory of Eastern Orthodox church music.\u003c/p>\n\u003cp>At the end of the 15th century, the Ottomans crushed the Byzantine Empire. They turned the Hagia Sophia into a mosque, and in 1935 it became a museum. Church choirs are not allowed to perform inside, so it has been centuries since anyone heard the music as it was supposed to sound inside the Hagia Sophia.\u003c/p>\n\u003cp>But thanks to some professors at Stanford, that’s no longer the case.\u003c/p>\n\u003cp>About a decade ago, art history professor \u003ca href=\"https://art.stanford.edu/people/bissera-pentcheva\" target=\"_blank\" rel=\"noopener noreferrer\">Bissera Pentcheva\u003c/a> and computer music professor Jonathan Abel started a mission to map the acoustic profile of the Hagia Sophia and created a digital filter that could be applied to any sound. The feat required the latest theories of “convolution reverb,” a few trips to Istanbul and at least one pack of balloons.\u003c/p>\n\u003cp>Finally, to replicate the music heard inside of the Hagia Sophia, they shared their filter with Cappella Romana, a Portland-based choir that specializes in Byzantine chants. Take a listen to hear how Pentcheva, Abel and Cappella Romana have brought back music that hasn’t been heard exactly as it was intended for over 500 years.\u003c/p>\n\u003cp>For the full surround sound effect, throw on a pair of headphones before you listen!\u003c/p>\n\u003chr>\n\u003cp>This story comes to us from Chris Hoff and Sam Harnett of \u003ca href=\"http://www.theworldaccordingtosound.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The World According to Sound podcast\u003c/a>. They’re partnering with the \u003ca href=\"http://lighthouse-sf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">LightHouse for the Blind and Visually Impaired\u003c/a> in San Francisco to help us reimagine California in the rich way blind people experience it every day. The project has additional support from\u003ca href=\"https://calhum.org/\" target=\"_blank\" rel=\"noopener noreferrer\"> California Humanities\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cp>Murray Bowles, the photographer who chronicled the characters, chaos and energy of the Bay Area’s punk scene for over three decades, died at his home in Sacramento on Sunday. He was 68.\u003c/p>\n\u003cp>Often seen in the middle of swirling crowds, one arm lifting his camera into the air, Bowles created tens of thousands of images that captured the close-up intensity of a punk show. Many of his photos became defining images, particularly in the East Bay punk scene, and his photos graced magazines, record artwork and film documentaries.\u003c/p>\n\u003cp>“One of the great rites of passage of being a teenage Berkeley punk rocker was finally getting into one of Murray’s pictures,” said close friend Anna Brown. “It meant that you were \u003cem>in\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13232566\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Billie Joe Armstrong (third from right) sings with Operation Ivy onstage at 924 Gilman, circa 1988.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13232566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong (third from right) sings with Operation Ivy onstage at 924 Gilman, circa 1988. \u003ccite>(Photo: Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bowles photographed thousands of bands, including many at Berkeley punk club 924 Gilman during the 1980s and 1990s. Along with bands like Crucifix, Filth, Crimpshrine and Fang, some of Bowles’ most iconic early photos capture young bands that went on to become globally known, like Operation Ivy, Neurosis, and Green Day.\u003c/p>\n\u003cp>But Bowles preferred the warehouses and basements.\u003c/p>\n\u003cfigure id=\"attachment_13871168\" class=\"wp-caption alignright\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Richie.Murray.jpg\" alt=\"Murray Bowles depicted on the cover of Green Day's album 'Dookie.'\" width=\"1080\" height=\"1080\" class=\"size-full wp-image-13871168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-1020x1020.jpg 1020w\" sizes=\"auto, (max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles depicted on the cover of Green Day’s album ‘Dookie.’ \u003ccite>(Richie Bucher)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was right in there with the gritty basement shows, with kids, just sweaty, wild and free,” Brown said. “And I think that one of the things that’s so great about Murrays’ pictures is that sort of joyfulness. Even if was the most violent, negative band, the pictures came across as really sweet.”\u003c/p>\n\u003cp>Bowles was such a ubiquitous presence at Bay Area punk shows that he was included by artist Richie Bucher \u003ca href=\"https://www.instagram.com/p/B51xw5phoJrsez1PWqTuOOzRAFGOnbtN0ESHKc0/\" rel=\"noopener noreferrer\" target=\"_blank\">on the cover\u003c/a> of Green Day’s 1994 breakthrough album \u003cem>Dookie\u003c/em>, in his signature point-and-shoot pose. \u003c/p>\n\u003cp>“For me, he’s the most important part of that drawing,” said Bucher, who initially wanted to include everyone in the Berkeley punk scene in the tableau, an impossible task. “I don’t know if I thought about it at the time, but I realize now that by putting him in there, I wasn’t leaving anybody out. Because everybody from our scene could connect to him.”\u003c/p>\n\u003cp>“Murray, you are a legend,” wrote Green Day’s Billie Joe Armstrong \u003ca href=\"https://www.instagram.com/p/B51rOYnHlA4/\" rel=\"noopener noreferrer\" target=\"_blank\">on Instagram\u003c/a> on Monday. “I remember seeing your photos up on the walls at Gilman the first time I ever went there. Amazing photographer, musician. The nicest man and a great friend to the punks. East Bay punk has a heavy heart today.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>[See a giant collection of Murray Bowles’ photos \u003ca href=\"https://www.facebook.com/profile.php?id=100005407748464&sk=media_set&set=a.211229612400629&type=3\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.]\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Questions about the future of Bowles’ archive have already been addressed. Brown said that, with Bowles, she’s planned for decades to publish a book of his photographs, a project she still hopes to see to fruition. Bowles selected all the images before he died, and helped with an outline for the book. \u003c/p>\n\u003cp>Corbett Redford, director of the documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13239750/the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning\" rel=\"noopener noreferrer\" target=\"_blank\">Turn It Around: The Story of East Bay Punk\u003c/a>\u003c/em>, said that having access to Bowles’ archive was a crucial component to the film. “He was so generous to give [his archive] to us. We would not have a documentary if it was not for him.”\u003c/p>\n\u003cfigure id=\"attachment_13871189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/DavidHayes.Murray-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13871189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles (R) with Very Small Records founder David Hayes. \u003ccite>(Courtesy Corbett Redford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was through the making of \u003cem>Turn It Around\u003c/em> that 25 years of Bowles’ photos were finally preserved. Redford tells the story of driving to Bowles’ San Jose home with fanzine editor Robert Eggplant and Tim Armstrong from the band Rancid. There, the three went through decades of old photos and negatives.\u003c/p>\n\u003cp>“It was all gathering dust in his closet—30,000 negatives that were pretty disorganized,” Redford said. The three loaded all of Bowles’ negatives into the trunk, and drove back to Oakland to be cleaned and digitized over time by Caoimhe Carty, the film’s online editor. \u003c/p>\n\u003cp>“When I was driving back, I had what I felt was the Tiffany Diamond in the trunk,” Redford said. “I kept thinking, ‘Please don’t get in an accident. If I do, the entire history is gone.’”\u003c/p>\n\u003cfigure id=\"attachment_13243294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Green Day with first drummer John Kiffmeyer at Gilman, circa 1990.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13243294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Green Day with first drummer John Kiffmeyer at Gilman, circa 1990. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bowles was raised in San Gabriel, California, and learned photography from his grandfather. Upon graduating from UC Berkeley in 1976, he found work as a computer programmer in San Jose, but an assignment to photograph a show for the fanzine \u003cem>Ripper\u003c/em> got him hooked on the action of punk. “I started bringing my camera to every show I went to,” he told \u003cem>Maximum RocknRoll\u003c/em> in \u003ca href=\"http://maximumrocknroll.com/murray-bowles/\" rel=\"noopener noreferrer\" target=\"_blank\">a 2009 interview\u003c/a>. “It was addictive.”\u003c/p>\n\u003cp>Bowles initially distributed his photos by bringing a box of them to shows and selling them for 15 cents each to cover development costs, eventually raising the price to a quarter. It became a tradition among punks to scrape together change and buy pictures of themselves at shows from the week prior. In 1987, \u003cem>Maximum RockNRoll\u003c/em> published a special issue dedicated to Bowles’ photography, titled \u003cem>If Life is a Bowl of Cherries, Why am I in the Pit?\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13871178\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/GBH.Bowles-800x596.jpg\" alt=\"A stagediver at a GBH show in the early 1980s. \" width=\"800\" height=\"596\" class=\"size-medium wp-image-13871178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles-768x572.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A stagediver at a GBH show in the early 1980s, from ‘If Life is a Bowl of Cherries, Why am I in the Pit?’. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later, Bowles maintained an \u003ca href=\"https://www.instagram.com/murraybowles/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">active Instagram account\u003c/a>, posting pictures from shows along with his other hobbies: food, beer, bicycling, nature. He also played the viola for several bands, as well as the Peninsula Symphony and the occasional theatre pit orchestra. He worked for Dell Computers until his retirement, when he moved to Sacramento.\u003c/p>\n\u003cp>There, Brown said, he continued to go to underground shows up until the end, always taking photos. “He really captured this side of punk that was not cliché,” Brown said. “He really got it.”\u003c/p>\n\u003cfigure id=\"attachment_13871203\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayViola-2.jpg\" alt=\"Murray Bowles, playing his viola.\" width=\"600\" height=\"400\" class=\"size-full wp-image-13871203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayViola-2.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayViola-2-160x107.jpg 160w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles, playing his viola. \u003ccite>(Courtesy Corbett Redford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Matt Saincome, founder of the punk satire site The Hard Times, remembered Bowles for his commitment and tenacity.\u003c/p>\n\u003cp>“My friends and I, we threw a show at a barn in Clayton when I was 16,” Saincome said. “There were 12 people there, out in the middle of nowhere, up this mountain, it didn’t even have an address. Absolutely no one came. No popular bands. And all of a sudden, Murray popped up. It’s me and 12 of my friends, and then him… His dedication to punk went so far that he wasn’t just going to a couple venues here and there. He said, ‘I’m gonna drive up this mountain in Clayton, to a barn with cows and chickens.’”\u003c/p>\n\u003cfigure id=\"attachment_13871194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-800x530.jpg\" alt=\"Murray Bowles at Sibley Park, in the East Bay hills.\" width=\"800\" height=\"530\" class=\"size-medium wp-image-13871194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-1200x796.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles at Sibley Park, in the East Bay hills. \u003ccite>(Anna Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Saincome echoed the sentiment that Bowles chronicled people, music and moments that would otherwise be forgotten, with an eye for people’s humanity. “If you’re a Bay Area punk kid, you can go to \u003ca href=\"https://pbase.com/murraybowles/\" rel=\"noopener noreferrer\" target=\"_blank\">his website\u003c/a> and watch yourself grow up in real time through his photos,” Saincome said.\u003c/p>\n\u003cp>“Just the fact that it was him taking your picture—it made you feel legitimate, and valuable, and part of something,” said Bucher. “I had trouble feeling part of anything. But if Murray’s there, then it’s hard not to feel included.”\u003c/p>\n\u003cp>As Becca Bolo, a Gilman regular in the 1990s, put it, “Murray was an incredibly talented person who gave us the gift of seeing ourselves as the beautiful humans that we are.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"title": "Murray Bowles, Legendary Bay Area Punk Photographer, Dies at 68 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Murray Bowles, the photographer who chronicled the characters, chaos and energy of the Bay Area’s punk scene for over three decades, died at his home in Sacramento on Sunday. He was 68.\u003c/p>\n\u003cp>Often seen in the middle of swirling crowds, one arm lifting his camera into the air, Bowles created tens of thousands of images that captured the close-up intensity of a punk show. Many of his photos became defining images, particularly in the East Bay punk scene, and his photos graced magazines, record artwork and film documentaries.\u003c/p>\n\u003cp>“One of the great rites of passage of being a teenage Berkeley punk rocker was finally getting into one of Murray’s pictures,” said close friend Anna Brown. “It meant that you were \u003cem>in\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13232566\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Billie Joe Armstrong (third from right) sings with Operation Ivy onstage at 924 Gilman, circa 1988.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13232566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong (third from right) sings with Operation Ivy onstage at 924 Gilman, circa 1988. \u003ccite>(Photo: Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bowles photographed thousands of bands, including many at Berkeley punk club 924 Gilman during the 1980s and 1990s. Along with bands like Crucifix, Filth, Crimpshrine and Fang, some of Bowles’ most iconic early photos capture young bands that went on to become globally known, like Operation Ivy, Neurosis, and Green Day.\u003c/p>\n\u003cp>But Bowles preferred the warehouses and basements.\u003c/p>\n\u003cfigure id=\"attachment_13871168\" class=\"wp-caption alignright\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Richie.Murray.jpg\" alt=\"Murray Bowles depicted on the cover of Green Day's album 'Dookie.'\" width=\"1080\" height=\"1080\" class=\"size-full wp-image-13871168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-1020x1020.jpg 1020w\" sizes=\"auto, (max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles depicted on the cover of Green Day’s album ‘Dookie.’ \u003ccite>(Richie Bucher)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was right in there with the gritty basement shows, with kids, just sweaty, wild and free,” Brown said. “And I think that one of the things that’s so great about Murrays’ pictures is that sort of joyfulness. Even if was the most violent, negative band, the pictures came across as really sweet.”\u003c/p>\n\u003cp>Bowles was such a ubiquitous presence at Bay Area punk shows that he was included by artist Richie Bucher \u003ca href=\"https://www.instagram.com/p/B51xw5phoJrsez1PWqTuOOzRAFGOnbtN0ESHKc0/\" rel=\"noopener noreferrer\" target=\"_blank\">on the cover\u003c/a> of Green Day’s 1994 breakthrough album \u003cem>Dookie\u003c/em>, in his signature point-and-shoot pose. \u003c/p>\n\u003cp>“For me, he’s the most important part of that drawing,” said Bucher, who initially wanted to include everyone in the Berkeley punk scene in the tableau, an impossible task. “I don’t know if I thought about it at the time, but I realize now that by putting him in there, I wasn’t leaving anybody out. Because everybody from our scene could connect to him.”\u003c/p>\n\u003cp>“Murray, you are a legend,” wrote Green Day’s Billie Joe Armstrong \u003ca href=\"https://www.instagram.com/p/B51rOYnHlA4/\" rel=\"noopener noreferrer\" target=\"_blank\">on Instagram\u003c/a> on Monday. “I remember seeing your photos up on the walls at Gilman the first time I ever went there. Amazing photographer, musician. The nicest man and a great friend to the punks. East Bay punk has a heavy heart today.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>[See a giant collection of Murray Bowles’ photos \u003ca href=\"https://www.facebook.com/profile.php?id=100005407748464&sk=media_set&set=a.211229612400629&type=3\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.]\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Questions about the future of Bowles’ archive have already been addressed. Brown said that, with Bowles, she’s planned for decades to publish a book of his photographs, a project she still hopes to see to fruition. Bowles selected all the images before he died, and helped with an outline for the book. \u003c/p>\n\u003cp>Corbett Redford, director of the documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13239750/the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning\" rel=\"noopener noreferrer\" target=\"_blank\">Turn It Around: The Story of East Bay Punk\u003c/a>\u003c/em>, said that having access to Bowles’ archive was a crucial component to the film. “He was so generous to give [his archive] to us. We would not have a documentary if it was not for him.”\u003c/p>\n\u003cfigure id=\"attachment_13871189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/DavidHayes.Murray-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13871189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles (R) with Very Small Records founder David Hayes. \u003ccite>(Courtesy Corbett Redford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was through the making of \u003cem>Turn It Around\u003c/em> that 25 years of Bowles’ photos were finally preserved. Redford tells the story of driving to Bowles’ San Jose home with fanzine editor Robert Eggplant and Tim Armstrong from the band Rancid. There, the three went through decades of old photos and negatives.\u003c/p>\n\u003cp>“It was all gathering dust in his closet—30,000 negatives that were pretty disorganized,” Redford said. The three loaded all of Bowles’ negatives into the trunk, and drove back to Oakland to be cleaned and digitized over time by Caoimhe Carty, the film’s online editor. \u003c/p>\n\u003cp>“When I was driving back, I had what I felt was the Tiffany Diamond in the trunk,” Redford said. “I kept thinking, ‘Please don’t get in an accident. If I do, the entire history is gone.’”\u003c/p>\n\u003cfigure id=\"attachment_13243294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Green Day with first drummer John Kiffmeyer at Gilman, circa 1990.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13243294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Green Day with first drummer John Kiffmeyer at Gilman, circa 1990. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bowles was raised in San Gabriel, California, and learned photography from his grandfather. Upon graduating from UC Berkeley in 1976, he found work as a computer programmer in San Jose, but an assignment to photograph a show for the fanzine \u003cem>Ripper\u003c/em> got him hooked on the action of punk. “I started bringing my camera to every show I went to,” he told \u003cem>Maximum RocknRoll\u003c/em> in \u003ca href=\"http://maximumrocknroll.com/murray-bowles/\" rel=\"noopener noreferrer\" target=\"_blank\">a 2009 interview\u003c/a>. “It was addictive.”\u003c/p>\n\u003cp>Bowles initially distributed his photos by bringing a box of them to shows and selling them for 15 cents each to cover development costs, eventually raising the price to a quarter. It became a tradition among punks to scrape together change and buy pictures of themselves at shows from the week prior. In 1987, \u003cem>Maximum RockNRoll\u003c/em> published a special issue dedicated to Bowles’ photography, titled \u003cem>If Life is a Bowl of Cherries, Why am I in the Pit?\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13871178\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/GBH.Bowles-800x596.jpg\" alt=\"A stagediver at a GBH show in the early 1980s. \" width=\"800\" height=\"596\" class=\"size-medium wp-image-13871178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles-768x572.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A stagediver at a GBH show in the early 1980s, from ‘If Life is a Bowl of Cherries, Why am I in the Pit?’. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later, Bowles maintained an \u003ca href=\"https://www.instagram.com/murraybowles/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">active Instagram account\u003c/a>, posting pictures from shows along with his other hobbies: food, beer, bicycling, nature. He also played the viola for several bands, as well as the Peninsula Symphony and the occasional theatre pit orchestra. He worked for Dell Computers until his retirement, when he moved to Sacramento.\u003c/p>\n\u003cp>There, Brown said, he continued to go to underground shows up until the end, always taking photos. “He really captured this side of punk that was not cliché,” Brown said. “He really got it.”\u003c/p>\n\u003cfigure id=\"attachment_13871203\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayViola-2.jpg\" alt=\"Murray Bowles, playing his viola.\" width=\"600\" height=\"400\" class=\"size-full wp-image-13871203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayViola-2.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayViola-2-160x107.jpg 160w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles, playing his viola. \u003ccite>(Courtesy Corbett Redford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Matt Saincome, founder of the punk satire site The Hard Times, remembered Bowles for his commitment and tenacity.\u003c/p>\n\u003cp>“My friends and I, we threw a show at a barn in Clayton when I was 16,” Saincome said. “There were 12 people there, out in the middle of nowhere, up this mountain, it didn’t even have an address. Absolutely no one came. No popular bands. And all of a sudden, Murray popped up. It’s me and 12 of my friends, and then him… His dedication to punk went so far that he wasn’t just going to a couple venues here and there. He said, ‘I’m gonna drive up this mountain in Clayton, to a barn with cows and chickens.’”\u003c/p>\n\u003cfigure id=\"attachment_13871194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-800x530.jpg\" alt=\"Murray Bowles at Sibley Park, in the East Bay hills.\" width=\"800\" height=\"530\" class=\"size-medium wp-image-13871194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-1200x796.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles at Sibley Park, in the East Bay hills. \u003ccite>(Anna Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Saincome echoed the sentiment that Bowles chronicled people, music and moments that would otherwise be forgotten, with an eye for people’s humanity. “If you’re a Bay Area punk kid, you can go to \u003ca href=\"https://pbase.com/murraybowles/\" rel=\"noopener noreferrer\" target=\"_blank\">his website\u003c/a> and watch yourself grow up in real time through his photos,” Saincome said.\u003c/p>\n\u003cp>“Just the fact that it was him taking your picture—it made you feel legitimate, and valuable, and part of something,” said Bucher. “I had trouble feeling part of anything. But if Murray’s there, then it’s hard not to feel included.”\u003c/p>\n\u003cp>As Becca Bolo, a Gilman regular in the 1990s, put it, “Murray was an incredibly talented person who gave us the gift of seeing ourselves as the beautiful humans that we are.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "PHOTOS: Mission District's 41st Carnaval Explores Healing Through Culture",
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"headTitle": "PHOTOS: Mission District’s 41st Carnaval Explores Healing Through Culture | KQED",
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"content": "\u003cp>Carnaval San Francisco celebrated the diverse Latin American and Caribbean roots of the city’s Mission District over the weekend with dance performances, music and food. This year’s theme focused on healing through culture in reaction to the hostility the Latino community feels under the Trump administration, according to Carnaval Executive Producer Roberto Hernandez.\u003c/p>\n\u003cp>The two-day cultural celebration began Saturday with vendors and performers, and continued Sunday with a parade that travelled along 24th and Mission Streets.\u003c/p>\n\u003cfigure id=\"attachment_11750066\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1603-e1558922311567.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750066\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1603-e1558922311567.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">More than 400 members of Karibbean Vibrationz celebrate the group’s ten-year anniversary at Carnaval with a performance titled, “Evolution to Epicness.” \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750067\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1433-e1558919006980.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750067\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1433-e1558919006980.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A dancer with Flavaz of D’Carribean stops to pet a furry friend. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750080\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1561-e1558917661640.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750080\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1561-e1558917661640.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Smoke wallows down 24th Street as a woman carries burning incense with Esplendor Azteca Xipe Totec — a group that teaches indigenous cultural dances throughout the Bay Area. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The annual festivities began back in 1979 as a spin-off of the traditional Brazilian pre-Lent festival, but the celebration has evolved to expand its diversity over the decades.\u003c/p>\n\u003cp>The first Carnaval parade marched around Precita Park on a drizzly February day, as expat communities in the city yearned for a taste of home more than 40 years ago.\u003c/p>\n\u003cfigure id=\"attachment_11750077\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1393-1-e1558922900539.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750077\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1393-1-e1558922900539.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A mother and daughter hold hands at the 41st annual Carnaval Festival on Bryant Street. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750071\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1508-e1558922945660.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750071\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1508-e1558922945660.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A woman sells five dollar tostadas to festival-goers. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750070\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1550-e1558923137625.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750070\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1550-e1558923137625.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A crowd gathers to watch as the parade travels down 24th Street. Floats in the parade range from simple to extravagant. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since its inception, the festival moved to May seeking better weather. In addition to celebrating Caribbean, Central and South American heritages, Carnaval eventually became even more diverse by inviting Asian Pacific and Hawaiian communities into the festivities.\u003c/p>\n\u003cp>“The best thing about Carnaval is just seeing everybody that doesn’t live here anymore but they come back to celebrate,” said Jackie Ruiz, an attendee on Saturday. “That’s really awesome, I love that.”\u003c/p>\n\u003cfigure id=\"attachment_11750069\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1465-e1558923578776.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750069\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1465-e1558923578776.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A dancer with Flavaz of D’Carribean flaunts her moves for the crowd. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750075\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1532-e1558923626849.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750075\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1532-e1558923626849.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A woman in traditional Bolivian dress dances to a live band with Bolivia Para El Mundo. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750087\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1496-1-e1558924267856.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750087\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1496-1-e1558924267856.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Two attendees cheer as they watch the parade pass by. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hernandez, the event’s executive producer, said the visible celebration is all too rare for certain communities.\u003c/p>\n\u003cp>“It’s sad because I know currently there are millions of Latinos in this country that go from work and go to home,” he said. “They don’t go to movies, they don’t go to clubs, they don’t go to outings, they don’t go to picnics.”\u003c/p>\n\u003cp>But for many, the festivities provide a home away from home.\u003c/p>\n\u003cfigure id=\"attachment_11750078\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1410-1-e1558918778464.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750078\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1410-1-e1558918778464.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">La Cumbiamba Colombiana, a Bay Area dance company that passes Columbian traditions to younger generations, performs cumbia dance. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750073\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1593-e1558919315158.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750073\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1593-e1558919315158.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Samba Conmigo merges cultural dances through a combination of samba, salsa and ballet on Bryant Street. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>KQED’s Sara Hossaini contributed to the report.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Carnaval San Francisco celebrated the diverse Latin American and Caribbean roots of the city’s Mission District over the weekend with dance performances, music and food. This year’s theme focused on healing through culture in reaction to the hostility the Latino community feels under the Trump administration, according to Carnaval Executive Producer Roberto Hernandez.\u003c/p>\n\u003cp>The two-day cultural celebration began Saturday with vendors and performers, and continued Sunday with a parade that travelled along 24th and Mission Streets.\u003c/p>\n\u003cfigure id=\"attachment_11750066\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1603-e1558922311567.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750066\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1603-e1558922311567.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">More than 400 members of Karibbean Vibrationz celebrate the group’s ten-year anniversary at Carnaval with a performance titled, “Evolution to Epicness.” \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750067\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1433-e1558919006980.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750067\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1433-e1558919006980.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A dancer with Flavaz of D’Carribean stops to pet a furry friend. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750080\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1561-e1558917661640.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750080\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1561-e1558917661640.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Smoke wallows down 24th Street as a woman carries burning incense with Esplendor Azteca Xipe Totec — a group that teaches indigenous cultural dances throughout the Bay Area. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The annual festivities began back in 1979 as a spin-off of the traditional Brazilian pre-Lent festival, but the celebration has evolved to expand its diversity over the decades.\u003c/p>\n\u003cp>The first Carnaval parade marched around Precita Park on a drizzly February day, as expat communities in the city yearned for a taste of home more than 40 years ago.\u003c/p>\n\u003cfigure id=\"attachment_11750077\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1393-1-e1558922900539.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750077\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1393-1-e1558922900539.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A mother and daughter hold hands at the 41st annual Carnaval Festival on Bryant Street. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750071\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1508-e1558922945660.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750071\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1508-e1558922945660.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A woman sells five dollar tostadas to festival-goers. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750070\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1550-e1558923137625.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750070\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1550-e1558923137625.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A crowd gathers to watch as the parade travels down 24th Street. Floats in the parade range from simple to extravagant. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since its inception, the festival moved to May seeking better weather. In addition to celebrating Caribbean, Central and South American heritages, Carnaval eventually became even more diverse by inviting Asian Pacific and Hawaiian communities into the festivities.\u003c/p>\n\u003cp>“The best thing about Carnaval is just seeing everybody that doesn’t live here anymore but they come back to celebrate,” said Jackie Ruiz, an attendee on Saturday. “That’s really awesome, I love that.”\u003c/p>\n\u003cfigure id=\"attachment_11750069\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1465-e1558923578776.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750069\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1465-e1558923578776.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A dancer with Flavaz of D’Carribean flaunts her moves for the crowd. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750075\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1532-e1558923626849.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750075\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1532-e1558923626849.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A woman in traditional Bolivian dress dances to a live band with Bolivia Para El Mundo. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750087\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1496-1-e1558924267856.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750087\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1496-1-e1558924267856.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Two attendees cheer as they watch the parade pass by. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hernandez, the event’s executive producer, said the visible celebration is all too rare for certain communities.\u003c/p>\n\u003cp>“It’s sad because I know currently there are millions of Latinos in this country that go from work and go to home,” he said. “They don’t go to movies, they don’t go to clubs, they don’t go to outings, they don’t go to picnics.”\u003c/p>\n\u003cp>But for many, the festivities provide a home away from home.\u003c/p>\n\u003cfigure id=\"attachment_11750078\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1410-1-e1558918778464.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750078\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1410-1-e1558918778464.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">La Cumbiamba Colombiana, a Bay Area dance company that passes Columbian traditions to younger generations, performs cumbia dance. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750073\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1593-e1558919315158.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750073\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1593-e1558919315158.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Samba Conmigo merges cultural dances through a combination of samba, salsa and ballet on Bryant Street. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>KQED’s Sara Hossaini contributed to the report.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It was still dark in the eastern Coachella Valley when Enriqueta Magaña assembled her crew of about a dozen workers along a row of grapevines and demonstrated the work they’d be doing that day. She used both hands to snap small branches off the vines.\u003c/p>\n\u003cp>[aside postID='news_11737874,news_11737834,news_11737988' label='The Coachella You Might Not Have Heard About']\u003c/p>\n\u003cp>“We’re going to work hard,” Magaña, a field forewoman, told her crew that morning in early April. They all wore an unofficial uniform — pants, long-sleeved shirts, brimmed hats and bandannas — to protect their skin from the sun, which would soon bake the California desert. “It’s for the good of all of us.”\u003c/p>\n\u003cp>For three weekends this month, Magaña is giving similar advice to a crew cleaning up trash after the Coachella and Stagecoach music festivals.\u003c/p>\n\u003cp>Following eight-hour days in the fields, Magaña and many of her farmworkers change into another uniform — latex gloves and colored T-shirts — and head to the Empire Polo Club in Indio.\u003c/p>\n\u003cp>When the last concertgoers stumble out of the festival after midnight, the grounds look like “a garbage dump,” Magaña said.\u003c/p>\n\u003cp>She and her crew work overnight, filling trash bags with soggy plastic cups, grease-stained plates and other objects left behind by attendees. By the time they finish their shift at 3:30 a.m., the grounds are spotless again.\u003c/p>\n\u003cp>Coachella 2017 was the highest-grossing festival in the world, according to the most recent statistics available from Pollstar, a publication focused on the concert industry. Working behind the scenes are area residents who, according to Magaña, earn minimum wage to make sure the grounds are pristine for each day’s festivities.\u003c/p>\n\u003cfigure id=\"attachment_11741277\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11741277\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/Field-Supervisor-Enriqueta-Magana-800x533.jpg\" alt=\"Field supervisor Enriqueta Magaña has worked in the Coachella Valley's grape vineyards for two decades and at the Coachella festival for 10 years.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/Field-Supervisor-Enriqueta-Magana-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/Field-Supervisor-Enriqueta-Magana-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/Field-Supervisor-Enriqueta-Magana-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/Field-Supervisor-Enriqueta-Magana-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/Field-Supervisor-Enriqueta-Magana.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Field supervisor Enriqueta Magaña has worked in the Coachella Valley’s grape vineyards for two decades and at the Coachella festival for 10 years. \u003ccite>(Omar Ornelas/The Desert Sun)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The festivals coincide with the grape-growing season, so Magaña and her team typically labor all day in the fields, often amid sweltering temperatures, and then all night at the festivals, catching an hour or two of sleep and a cup of coffee in between shifts.\u003c/p>\n\u003cp>But in the Coachella Valley, grape growers planted about 1,000 fewer acres in 2017 than they had in 2013, according to the Riverside County Agricultural Commissioner’s Office.\u003c/p>\n\u003cp>The reduction in grapevines, Magaña said, has resulted in fewer hours of low-wage work in the fields. So residents continue picking up extra shifts at the festival, laboring in the shadows of an event that has made their hometown a household name.\u003c/p>\n\u003ch3>\u003ca href=\"https://www.desertsun.com/story/life/entertainment/music/coachella/2019/04/18/coachella-festival-farmworkers-pick-up-extra-shifts-collecting-trash/3474941002/\" target=\"_blank\" rel=\"noopener\">Read the full story via The Desert Sun\u003c/a>\u003c/h3>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was still dark in the eastern Coachella Valley when Enriqueta Magaña assembled her crew of about a dozen workers along a row of grapevines and demonstrated the work they’d be doing that day. She used both hands to snap small branches off the vines.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’re going to work hard,” Magaña, a field forewoman, told her crew that morning in early April. They all wore an unofficial uniform — pants, long-sleeved shirts, brimmed hats and bandannas — to protect their skin from the sun, which would soon bake the California desert. “It’s for the good of all of us.”\u003c/p>\n\u003cp>For three weekends this month, Magaña is giving similar advice to a crew cleaning up trash after the Coachella and Stagecoach music festivals.\u003c/p>\n\u003cp>Following eight-hour days in the fields, Magaña and many of her farmworkers change into another uniform — latex gloves and colored T-shirts — and head to the Empire Polo Club in Indio.\u003c/p>\n\u003cp>When the last concertgoers stumble out of the festival after midnight, the grounds look like “a garbage dump,” Magaña said.\u003c/p>\n\u003cp>She and her crew work overnight, filling trash bags with soggy plastic cups, grease-stained plates and other objects left behind by attendees. By the time they finish their shift at 3:30 a.m., the grounds are spotless again.\u003c/p>\n\u003cp>Coachella 2017 was the highest-grossing festival in the world, according to the most recent statistics available from Pollstar, a publication focused on the concert industry. Working behind the scenes are area residents who, according to Magaña, earn minimum wage to make sure the grounds are pristine for each day’s festivities.\u003c/p>\n\u003cfigure id=\"attachment_11741277\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11741277\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/Field-Supervisor-Enriqueta-Magana-800x533.jpg\" alt=\"Field supervisor Enriqueta Magaña has worked in the Coachella Valley's grape vineyards for two decades and at the Coachella festival for 10 years.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/Field-Supervisor-Enriqueta-Magana-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/Field-Supervisor-Enriqueta-Magana-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/Field-Supervisor-Enriqueta-Magana-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/Field-Supervisor-Enriqueta-Magana-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/Field-Supervisor-Enriqueta-Magana.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Field supervisor Enriqueta Magaña has worked in the Coachella Valley’s grape vineyards for two decades and at the Coachella festival for 10 years. \u003ccite>(Omar Ornelas/The Desert Sun)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The festivals coincide with the grape-growing season, so Magaña and her team typically labor all day in the fields, often amid sweltering temperatures, and then all night at the festivals, catching an hour or two of sleep and a cup of coffee in between shifts.\u003c/p>\n\u003cp>But in the Coachella Valley, grape growers planted about 1,000 fewer acres in 2017 than they had in 2013, according to the Riverside County Agricultural Commissioner’s Office.\u003c/p>\n\u003cp>The reduction in grapevines, Magaña said, has resulted in fewer hours of low-wage work in the fields. So residents continue picking up extra shifts at the festival, laboring in the shadows of an event that has made their hometown a household name.\u003c/p>\n\u003ch3>\u003ca href=\"https://www.desertsun.com/story/life/entertainment/music/coachella/2019/04/18/coachella-festival-farmworkers-pick-up-extra-shifts-collecting-trash/3474941002/\" target=\"_blank\" rel=\"noopener\">Read the full story via The Desert Sun\u003c/a>\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"headTitle": "This Is the Coachella Most Californians Don’t See | KQED",
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"content": "\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" rel=\"noopener noreferrer\" target=\"_blank\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>[dropcap]F[/dropcap]or many Californians, their only reference point for the Coachella Valley is the \u003ca href=\"https://coachella.com/\" target=\"_blank\" rel=\"noopener noreferrer\">annual music festival\u003c/a> which kicks off this week, where tens of thousands of concert-goers from around the world gather to see big-name headliners and party in the desert. But there’s another side to Coachella — the one the locals see.\u003c/p>\n\u003cp>Thousands of acres of date palms. Early morning dew on the grape vines. A thriving indigenous community. The backyard concerts where local artists have created their own music scene. \u003c/p>\n\u003cp>And also, high asthma rates. The decaying \u003ca href=\"https://www.kqed.org/news/11737659/theres-so-much-here-thats-still-alive-young-filmmakers-document-a-dying-salton-sea\" target=\"_blank\" rel=\"noopener noreferrer\">Salton Sea\u003c/a>.\u003c/p>\n\u003cp>“I want people to know what it’s really like, and the issues we’re facing. Because it’s something that I face, too,” said 24-year-old Bryan Mendez, a reporter with \u003ca href=\"http://coachellaunincorporated.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Coachella Unincorporated\u003c/a>, where young people write and document the stories of this valley.\u003c/p>\n\u003cfigure id=\"attachment_11739127\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11739127\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/DSCF8204-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/DSCF8204-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/DSCF8204-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/DSCF8204-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/DSCF8204-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/DSCF8204-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/DSCF8204.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bryan Mendez is a filmmaker and farmworker from the Eastern Coachella Valley. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mendez grew up picking grapes with his parents. He still does farm work and construction to pay the bills. But he’s also a talented photographer and filmmaker.\u003c/p>\n\u003cp>The California Report Magazine’s host Sasha Khokha teamed up with Mendez to take a tour of his Coachella Valley, from the orchard where his mom takes a lift 60 feet up in the air to harvest dates, to the local joint where you can eat homemade ice cream made from Mexican pastries.\u003c/p>\n\u003cp>\u003cem>Take a look at a few of Mendez’s photos:\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11739138\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11739138\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36457_The-trailer-where-I-grew-up-half-of-my-life-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36457_The-trailer-where-I-grew-up-half-of-my-life-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36457_The-trailer-where-I-grew-up-half-of-my-life-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36457_The-trailer-where-I-grew-up-half-of-my-life-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36457_The-trailer-where-I-grew-up-half-of-my-life-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36457_The-trailer-where-I-grew-up-half-of-my-life-qut.jpg 1776w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The trailer where Mendez grew up in the Eastern Coachella Valley. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11737885\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36328_Cruzito-qut-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36328_Cruzito-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36328_Cruzito-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36328_Cruzito-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36328_Cruzito-qut-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36328_Cruzito-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cruzito, a farmworker who works with Mendez in the vines. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737895\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11737895 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36339_Jose%CC%81-el-palmero-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36339_José-el-palmero-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36339_José-el-palmero-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36339_José-el-palmero-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36339_José-el-palmero-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36339_José-el-palmero-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Before working the palms, Jose was a carpenter in Michoacán. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737897\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11737897\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36341_Palmero-sin-miedo-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36341_Palmero-sin-miedo-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36341_Palmero-sin-miedo-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36341_Palmero-sin-miedo-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36341_Palmero-sin-miedo-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36341_Palmero-sin-miedo-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A family owned and operated farm in the Coachella Valley. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737899\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11737899 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36342_Palmeros-en-Oasis-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36342_Palmeros-en-Oasis-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36342_Palmeros-en-Oasis-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36342_Palmeros-en-Oasis-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36342_Palmeros-en-Oasis-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36342_Palmeros-en-Oasis-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Palm leaves are lifted with cranes to work the dates. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737878\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11737878 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36322_Campesina-en-la-lluvia-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36322_Campesina-en-la-lluvia-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36322_Campesina-en-la-lluvia-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36322_Campesina-en-la-lluvia-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36322_Campesina-en-la-lluvia-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36322_Campesina-en-la-lluvia-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Farmers harvesting spinach during the rainy season in Oasis, CA. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737881\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11737881\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36324_Campesinos-en-la-lluvia-2-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36324_Campesinos-en-la-lluvia-2-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36324_Campesinos-en-la-lluvia-2-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36324_Campesinos-en-la-lluvia-2-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36324_Campesinos-en-la-lluvia-2-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36324_Campesinos-en-la-lluvia-2-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yellow ponchos are known to be uncomfortable for female workers. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737891\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11737891\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36335_Generaciones-del-valle-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36335_Generaciones-del-valle-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36335_Generaciones-del-valle-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36335_Generaciones-del-valle-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36335_Generaciones-del-valle-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36335_Generaciones-del-valle-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yisel Ibarra plays soccer at Desert Mirage High School, which became the first school in the Coachella Valley to win a state title this year. Before this year the team had hardly won any games. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737892\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11737892\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36336_Generaciones_-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36336_Generaciones_-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36336_Generaciones_-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36336_Generaciones_-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36336_Generaciones_-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36336_Generaciones_-qut.jpg 1776w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A young speaker at The Women’s March in Coachella Valley, 2018. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737890\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11737890\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36334_Flor-en-el-diserto_-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36334_Flor-en-el-diserto_-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36334_Flor-en-el-diserto_-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36334_Flor-en-el-diserto_-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36334_Flor-en-el-diserto_-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36334_Flor-en-el-diserto_-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Desert flowers in the Coachella Valley. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11739129\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36455_Palmas-qut-800x533.jpg\" alt=\"Palm trees in the Eastern Coachella Valley.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11739129\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36455_Palmas-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36455_Palmas-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36455_Palmas-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36455_Palmas-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36455_Palmas-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Palm trees in the Eastern Coachella Valley. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11737896 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36340_Palmas-Olvidadas_-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36340_Palmas-Olvidadas_-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36340_Palmas-Olvidadas_-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36340_Palmas-Olvidadas_-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36340_Palmas-Olvidadas_-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36340_Palmas-Olvidadas_-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Date palms have become a growing industry for local families. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737901\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11737901 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36346_The-Salton-Sea-qut-800x451.jpg\" alt=\"\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36346_The-Salton-Sea-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36346_The-Salton-Sea-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36346_The-Salton-Sea-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36346_The-Salton-Sea-qut-1200x677.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36346_The-Salton-Sea-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Salton Sea is one of the world’s largest inland seas, but the water is toxic, and might be causing respiratory illnesses throughout the Eastern Coachella Valley community. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737889\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11737889 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36333_El-Valle-de-Coachella_-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36333_El-Valle-de-Coachella_-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36333_El-Valle-de-Coachella_-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36333_El-Valle-de-Coachella_-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36333_El-Valle-de-Coachella_-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36333_El-Valle-de-Coachella_-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Coachella Valley at sunset. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "For many Californians, their only reference point for the Coachella Valley is the annual music festival which kicks off this week. But there are other sides to Coachella — the ones locals see.",
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"title": "This Is the Coachella Most Californians Don't See | KQED",
"description": "For many Californians, their only reference point for the Coachella Valley is the annual music festival which kicks off this week. But there are other sides to Coachella — the ones locals see.",
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"headline": "This Is the Coachella Most Californians Don't See",
"datePublished": "2019-04-12T16:26:06-07:00",
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"source": "The California Report Magazine",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" rel=\"noopener noreferrer\" target=\"_blank\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">F\u003c/span>\u003c/p>\u003cp>or many Californians, their only reference point for the Coachella Valley is the \u003ca href=\"https://coachella.com/\" target=\"_blank\" rel=\"noopener noreferrer\">annual music festival\u003c/a> which kicks off this week, where tens of thousands of concert-goers from around the world gather to see big-name headliners and party in the desert. But there’s another side to Coachella — the one the locals see.\u003c/p>\n\u003cp>Thousands of acres of date palms. Early morning dew on the grape vines. A thriving indigenous community. The backyard concerts where local artists have created their own music scene. \u003c/p>\n\u003cp>And also, high asthma rates. The decaying \u003ca href=\"https://www.kqed.org/news/11737659/theres-so-much-here-thats-still-alive-young-filmmakers-document-a-dying-salton-sea\" target=\"_blank\" rel=\"noopener noreferrer\">Salton Sea\u003c/a>.\u003c/p>\n\u003cp>“I want people to know what it’s really like, and the issues we’re facing. Because it’s something that I face, too,” said 24-year-old Bryan Mendez, a reporter with \u003ca href=\"http://coachellaunincorporated.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Coachella Unincorporated\u003c/a>, where young people write and document the stories of this valley.\u003c/p>\n\u003cfigure id=\"attachment_11739127\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11739127\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/DSCF8204-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/DSCF8204-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/DSCF8204-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/DSCF8204-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/DSCF8204-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/DSCF8204-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/DSCF8204.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bryan Mendez is a filmmaker and farmworker from the Eastern Coachella Valley. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mendez grew up picking grapes with his parents. He still does farm work and construction to pay the bills. But he’s also a talented photographer and filmmaker.\u003c/p>\n\u003cp>The California Report Magazine’s host Sasha Khokha teamed up with Mendez to take a tour of his Coachella Valley, from the orchard where his mom takes a lift 60 feet up in the air to harvest dates, to the local joint where you can eat homemade ice cream made from Mexican pastries.\u003c/p>\n\u003cp>\u003cem>Take a look at a few of Mendez’s photos:\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11739138\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11739138\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36457_The-trailer-where-I-grew-up-half-of-my-life-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36457_The-trailer-where-I-grew-up-half-of-my-life-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36457_The-trailer-where-I-grew-up-half-of-my-life-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36457_The-trailer-where-I-grew-up-half-of-my-life-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36457_The-trailer-where-I-grew-up-half-of-my-life-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36457_The-trailer-where-I-grew-up-half-of-my-life-qut.jpg 1776w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The trailer where Mendez grew up in the Eastern Coachella Valley. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11737885\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36328_Cruzito-qut-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36328_Cruzito-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36328_Cruzito-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36328_Cruzito-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36328_Cruzito-qut-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36328_Cruzito-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cruzito, a farmworker who works with Mendez in the vines. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737895\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11737895 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36339_Jose%CC%81-el-palmero-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36339_José-el-palmero-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36339_José-el-palmero-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36339_José-el-palmero-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36339_José-el-palmero-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36339_José-el-palmero-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Before working the palms, Jose was a carpenter in Michoacán. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737897\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11737897\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36341_Palmero-sin-miedo-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36341_Palmero-sin-miedo-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36341_Palmero-sin-miedo-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36341_Palmero-sin-miedo-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36341_Palmero-sin-miedo-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36341_Palmero-sin-miedo-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A family owned and operated farm in the Coachella Valley. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737899\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11737899 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36342_Palmeros-en-Oasis-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36342_Palmeros-en-Oasis-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36342_Palmeros-en-Oasis-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36342_Palmeros-en-Oasis-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36342_Palmeros-en-Oasis-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36342_Palmeros-en-Oasis-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Palm leaves are lifted with cranes to work the dates. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737878\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11737878 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36322_Campesina-en-la-lluvia-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36322_Campesina-en-la-lluvia-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36322_Campesina-en-la-lluvia-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36322_Campesina-en-la-lluvia-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36322_Campesina-en-la-lluvia-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36322_Campesina-en-la-lluvia-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Farmers harvesting spinach during the rainy season in Oasis, CA. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737881\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11737881\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36324_Campesinos-en-la-lluvia-2-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36324_Campesinos-en-la-lluvia-2-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36324_Campesinos-en-la-lluvia-2-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36324_Campesinos-en-la-lluvia-2-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36324_Campesinos-en-la-lluvia-2-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36324_Campesinos-en-la-lluvia-2-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yellow ponchos are known to be uncomfortable for female workers. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737891\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11737891\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36335_Generaciones-del-valle-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36335_Generaciones-del-valle-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36335_Generaciones-del-valle-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36335_Generaciones-del-valle-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36335_Generaciones-del-valle-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36335_Generaciones-del-valle-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yisel Ibarra plays soccer at Desert Mirage High School, which became the first school in the Coachella Valley to win a state title this year. Before this year the team had hardly won any games. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737892\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11737892\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36336_Generaciones_-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36336_Generaciones_-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36336_Generaciones_-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36336_Generaciones_-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36336_Generaciones_-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36336_Generaciones_-qut.jpg 1776w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A young speaker at The Women’s March in Coachella Valley, 2018. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737890\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11737890\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36334_Flor-en-el-diserto_-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36334_Flor-en-el-diserto_-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36334_Flor-en-el-diserto_-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36334_Flor-en-el-diserto_-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36334_Flor-en-el-diserto_-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36334_Flor-en-el-diserto_-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Desert flowers in the Coachella Valley. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11739129\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36455_Palmas-qut-800x533.jpg\" alt=\"Palm trees in the Eastern Coachella Valley.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11739129\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36455_Palmas-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36455_Palmas-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36455_Palmas-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36455_Palmas-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36455_Palmas-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Palm trees in the Eastern Coachella Valley. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11737896 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36340_Palmas-Olvidadas_-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36340_Palmas-Olvidadas_-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36340_Palmas-Olvidadas_-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36340_Palmas-Olvidadas_-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36340_Palmas-Olvidadas_-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36340_Palmas-Olvidadas_-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Date palms have become a growing industry for local families. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737901\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11737901 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36346_The-Salton-Sea-qut-800x451.jpg\" alt=\"\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36346_The-Salton-Sea-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36346_The-Salton-Sea-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36346_The-Salton-Sea-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36346_The-Salton-Sea-qut-1200x677.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36346_The-Salton-Sea-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Salton Sea is one of the world’s largest inland seas, but the water is toxic, and might be causing respiratory illnesses throughout the Eastern Coachella Valley community. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737889\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11737889 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36333_El-Valle-de-Coachella_-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36333_El-Valle-de-Coachella_-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36333_El-Valle-de-Coachella_-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36333_El-Valle-de-Coachella_-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36333_El-Valle-de-Coachella_-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36333_El-Valle-de-Coachella_-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Coachella Valley at sunset. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "'One of a Kind': Remembering Jeanie Patterson, Owner of Mill Valley's Sweetwater",
"title": "'One of a Kind': Remembering Jeanie Patterson, Owner of Mill Valley's Sweetwater",
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"content": "\u003cp>If you walked into the Sweetwater in downtown Mill Valley on a Friday night during the 1980s or '90s, the tiny music venue would be packed. Patrons had to get there early to get a seat at one of the tables clustered close together next to walls plastered in photos and posters.\u003c/p>\n\u003cp>It could only hold about 100 people, but big names including Bob Weir, Elvis Costello, Huey Lewis, Sammy Hagar and Carlos Santana were known to stop by.\u003c/p>\n\u003cp>\"You never knew who was going to come by and sit in. It wasn't announced. It was just there because it was the Sweetwater,\" said Roy Rogers, a blues guitarist who used to play and hang out at Sweetwater.\u003c/p>\n\u003cfigure id=\"attachment_11732115\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11732115 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/Sweetwater-800x642.jpg\" alt=\"\" width=\"800\" height=\"642\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-800x642.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-160x128.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-1020x819.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-1200x964.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-1920x1542.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Sweetwater owner Jeanie Patterson, local record store owner John Goddard, blues signer and guitarist Bonnie Raitt, and folk and blues singer Maria Muldar stand in front of one of the many walls in the Sweetwater plastered in photos and posters. \u003ccite>(Courtesy of John Goddard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The woman who turned this tiny club into a magnet for top musicians was its longtime owner, Jeanie Patterson, who ran the club from 1979 to 1998 and died of cardiac arrest at the age of 75 in late February.\u003c/p>\n\u003cp>\"It was a one-of-a-kind club that was run by one-of-a-kind person,\" said John Goddard, a friend of Patterson's who owned a well-known record store in Mill Valley.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The original Sweetwater shut its doors in 2007, and a group of investors, including the Grateful Dead's Bob Weir, reopened the club at a nearby location in 2012.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ew_FRsurUNI\u003c/p>\n\u003cp>Patterson's sister, Mary Tatter, says her charisma brought so many famous musicians into the tiny venue.\u003c/p>\n\u003cp>\"I think they all felt that from her,\" Tatter said, \"that she really cared about them, and she really cared about music and she was naive and they wanted to help her. And they fell in love with her like everyone has.\"\u003c/p>\n\u003cp>But, according to Tatter, it never went to her head.\u003c/p>\n\u003cp>\"She was very special and very modest and didn't talk about all the people that she knew and had met,\" Tatter said.\u003c/p>\n\u003cp>A lot of those musicians lived in or around Mill Valley, so word about Sweetwater spread. Patterson became friends with Weir, Bill Graham and many others.\u003c/p>\n\u003cfigure id=\"attachment_11732116\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11732116 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/Sweetwater-3-800x643.jpg\" alt=\"\" width=\"800\" height=\"643\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-3-800x643.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-3-160x129.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-3-1020x820.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-3-1200x965.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-3-1920x1544.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-3.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Blues musician Champion Jack Dupree, keyboardist Austin Delone and Sweetwater owner Jeanie Patterson hang out at the downtown Mill Valley music club. \u003ccite>(Courtesy of John Goddard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Everybody knew about it. It was just one of those clubs,\" Rogers said. \"You always knew the quality of the music would be great.\"\u003c/p>\n\u003cp>The Sweetwater became even more well-known and attracted even more talent when Patterson and Goddard, who owned Village Records in Mill Valley, teamed up to throw private parties at the club.\u003c/p>\n\u003cp>Goddard said the idea was sparked one day when the two were going over a list of Patterson's favorite musicians, and she wondered if she could get Ry Cooder to play a club as small as the Sweetwater. Goddard suggested that maybe he'd play at a private party.\u003c/p>\n\u003cp>Goddard and Patterson threw the party, and Cooder played.\u003c/p>\n\u003cp>\"And from then on we just we just took off,\" Goddard said.\u003c/p>\n\u003cp>Elvis Costello told the \u003ca href=\"https://www.marinij.com/2006/10/12/paul-liberatore-marins-delone-and-costello-together-again/\" target=\"_blank\" rel=\"noopener\">Marin Independent Journal in 2006\u003c/a>, the Sweetwater was the first venue he played in the United States.\u003c/p>\n\u003cfigure id=\"attachment_11732117\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11732117 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/Sweetwater-2-800x566.jpg\" alt=\"\" width=\"800\" height=\"566\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-2-800x566.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-2-160x113.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-2-1020x722.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-2-1200x849.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-2-1920x1359.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grateful Dead lead singer Jerry Garcia (L) plays at the Sweetwater with Elvis Costello (R). \u003ccite>(Courtesy of John Goddard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"It built the local music scene,\" Goddard said. \"It turned Mill Valley from a place to live to a place to hang out.\"\u003c/p>\n\u003cp>After nearly 20 years of running the Sweetwater, Patterson sold it to local entrepreneur \u003ca href=\"https://www.sfgate.com/entertainment/article/11th-Hour-Reprieve-for-Sweetwater-2969723.php\" target=\"_blank\" rel=\"noopener\">Thomas Steere\u003c/a>. Both her sons died suddenly within in a couple years of each other around that time, and she left Mill Valley.\u003c/p>\n\u003cp>Goddards says the Sweetwater wasn't the same after that. He says Patterson's loving personality and the fact that she lived in the community gave the club a homey feel that most places in Mill Valley just don't have anymore.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"It was certainly a representation of what Mill Valley was in the '60s, '70s and '80s,\" Goddard said. \"There was a small town character that to me isn't there anymore ... Music was an integral part of our lives. And I think music has turned into the background now.\"\u003c/p>\n\n",
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"excerpt": "Patterson turned the small Mill Valley club into a destination for stars including Elvis Costello, Bob Weir and Carlos Santana. She died in February at the age of 75.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you walked into the Sweetwater in downtown Mill Valley on a Friday night during the 1980s or '90s, the tiny music venue would be packed. Patrons had to get there early to get a seat at one of the tables clustered close together next to walls plastered in photos and posters.\u003c/p>\n\u003cp>It could only hold about 100 people, but big names including Bob Weir, Elvis Costello, Huey Lewis, Sammy Hagar and Carlos Santana were known to stop by.\u003c/p>\n\u003cp>\"You never knew who was going to come by and sit in. It wasn't announced. It was just there because it was the Sweetwater,\" said Roy Rogers, a blues guitarist who used to play and hang out at Sweetwater.\u003c/p>\n\u003cfigure id=\"attachment_11732115\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11732115 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/Sweetwater-800x642.jpg\" alt=\"\" width=\"800\" height=\"642\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-800x642.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-160x128.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-1020x819.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-1200x964.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-1920x1542.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Sweetwater owner Jeanie Patterson, local record store owner John Goddard, blues signer and guitarist Bonnie Raitt, and folk and blues singer Maria Muldar stand in front of one of the many walls in the Sweetwater plastered in photos and posters. \u003ccite>(Courtesy of John Goddard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The woman who turned this tiny club into a magnet for top musicians was its longtime owner, Jeanie Patterson, who ran the club from 1979 to 1998 and died of cardiac arrest at the age of 75 in late February.\u003c/p>\n\u003cp>\"It was a one-of-a-kind club that was run by one-of-a-kind person,\" said John Goddard, a friend of Patterson's who owned a well-known record store in Mill Valley.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The original Sweetwater shut its doors in 2007, and a group of investors, including the Grateful Dead's Bob Weir, reopened the club at a nearby location in 2012.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ew_FRsurUNI'\n title='//www.youtube.com/embed/ew_FRsurUNI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Patterson's sister, Mary Tatter, says her charisma brought so many famous musicians into the tiny venue.\u003c/p>\n\u003cp>\"I think they all felt that from her,\" Tatter said, \"that she really cared about them, and she really cared about music and she was naive and they wanted to help her. And they fell in love with her like everyone has.\"\u003c/p>\n\u003cp>But, according to Tatter, it never went to her head.\u003c/p>\n\u003cp>\"She was very special and very modest and didn't talk about all the people that she knew and had met,\" Tatter said.\u003c/p>\n\u003cp>A lot of those musicians lived in or around Mill Valley, so word about Sweetwater spread. Patterson became friends with Weir, Bill Graham and many others.\u003c/p>\n\u003cfigure id=\"attachment_11732116\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11732116 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/Sweetwater-3-800x643.jpg\" alt=\"\" width=\"800\" height=\"643\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-3-800x643.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-3-160x129.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-3-1020x820.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-3-1200x965.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-3-1920x1544.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-3.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Blues musician Champion Jack Dupree, keyboardist Austin Delone and Sweetwater owner Jeanie Patterson hang out at the downtown Mill Valley music club. \u003ccite>(Courtesy of John Goddard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Everybody knew about it. It was just one of those clubs,\" Rogers said. \"You always knew the quality of the music would be great.\"\u003c/p>\n\u003cp>The Sweetwater became even more well-known and attracted even more talent when Patterson and Goddard, who owned Village Records in Mill Valley, teamed up to throw private parties at the club.\u003c/p>\n\u003cp>Goddard said the idea was sparked one day when the two were going over a list of Patterson's favorite musicians, and she wondered if she could get Ry Cooder to play a club as small as the Sweetwater. Goddard suggested that maybe he'd play at a private party.\u003c/p>\n\u003cp>Goddard and Patterson threw the party, and Cooder played.\u003c/p>\n\u003cp>\"And from then on we just we just took off,\" Goddard said.\u003c/p>\n\u003cp>Elvis Costello told the \u003ca href=\"https://www.marinij.com/2006/10/12/paul-liberatore-marins-delone-and-costello-together-again/\" target=\"_blank\" rel=\"noopener\">Marin Independent Journal in 2006\u003c/a>, the Sweetwater was the first venue he played in the United States.\u003c/p>\n\u003cfigure id=\"attachment_11732117\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11732117 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/Sweetwater-2-800x566.jpg\" alt=\"\" width=\"800\" height=\"566\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-2-800x566.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-2-160x113.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-2-1020x722.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-2-1200x849.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-2-1920x1359.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grateful Dead lead singer Jerry Garcia (L) plays at the Sweetwater with Elvis Costello (R). \u003ccite>(Courtesy of John Goddard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"It built the local music scene,\" Goddard said. \"It turned Mill Valley from a place to live to a place to hang out.\"\u003c/p>\n\u003cp>After nearly 20 years of running the Sweetwater, Patterson sold it to local entrepreneur \u003ca href=\"https://www.sfgate.com/entertainment/article/11th-Hour-Reprieve-for-Sweetwater-2969723.php\" target=\"_blank\" rel=\"noopener\">Thomas Steere\u003c/a>. Both her sons died suddenly within in a couple years of each other around that time, and she left Mill Valley.\u003c/p>\n\u003cp>Goddards says the Sweetwater wasn't the same after that. He says Patterson's loving personality and the fact that she lived in the community gave the club a homey feel that most places in Mill Valley just don't have anymore.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"It was certainly a representation of what Mill Valley was in the '60s, '70s and '80s,\" Goddard said. \"There was a small town character that to me isn't there anymore ... Music was an integral part of our lives. And I think music has turned into the background now.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "how-okie-music-changed-californias-and-americas-musical-dna",
"title": "How ‘Okie’ Music Changed California's — and America’s — Musical DNA",
"publishDate": 1551030911,
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"headTitle": "How ‘Okie’ Music Changed California’s — and America’s — Musical DNA | KQED",
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"content": "\u003cp>\u003cem>As part of the California Report Magazine’s look at how migration from Oklahoma changed California, host Sasha Khokha spoke with Robert Price, author of \u003ca href=\"https://heydaybooks.com/book/the-bakersfield-sound/\" rel=\"noopener\" target=\"_blank\">“The Bakersfield Sound: How a Generation of Displaced Okies Revolutionized American Music.”\u003c/a> He’s also a longtime columnist and the former executive editor at The Bakersfield Californian. Excerpts from the interview have been edited for brevity and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>On whether the word “Okie” is a derogatory term:\u003c/strong>\u003c/p>\n\u003cp>At one point in time it was. But over time it became kind of a point of pride [a symbol of their attitude of survival] . Okies called themselves ‘Okies’ and they let everybody else call them Okies as well. Every once in a while you’ll still hear an old-timers say, “Hey that’s not the term we like to hear,” but it’s pretty well accepted now.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jBeOddejiGw\u003c/p>\n\u003cp>\u003cstrong>On what defines the Bakersfield sound:\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s not so much a sound as it is a time and place. It was just a unique period of time between about 1949 and 1970 when Bakersfield was the hot spot, the center of the country music universe. The two main practitioners are Buck Owens and Merle Haggard, and their sounds are not really very much alike. Buck has a rockabilly thing going on, will a little bit of norteño thrown in there. Merle Haggard had more of a western swing and a jazz sensibility. The one thing they all had in common besides that locale was the instrument of choice, the Fender Telecaster. It cut through the bass line, cut through the drums and reverberated off the aluminum siding.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fbEstJ98TcM\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cp>\u003cstrong>On Merle Haggard’s lyrics about working people:\u003c/strong>\u003c/p>\n\u003cp>He was a blue collar guy. His dad worked for the railroad, and he himself had a lot of manual labor jobs. His audiences were people that worked in the fields picking cotton and picking fruit. He grew up in a converted boxcar in Oildale, adjacent to the Kern River Oil Field, which is one of the biggest oil fields in the lower 48 states. Between oil and agriculture, these were working class people.\u003c/p>\n\u003cfigure id=\"attachment_11728205\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11728205\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35392_18MerlePostcard-qut.jpg\" alt=\"\" width=\"1920\" height=\"1261\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35392_18MerlePostcard-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35392_18MerlePostcard-qut-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35392_18MerlePostcard-qut-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35392_18MerlePostcard-qut-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35392_18MerlePostcard-qut-1200x788.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Some early Capitol Records marketing for Merle Haggard \u003ccite>(Courtesy of Robert Price Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On the ways “Okies” changed California culture:\u003c/strong>\u003c/p>\n\u003cp>The Okies that came west in the mid ’30s through the early ’50s brought with them not just music, but they brought a distinct way of talking. They brought a religious sensibility that hadn’t been on the West Coast before, more of a “praise the Lord out loud” kind of religion. They brought some conservative politics with them. It completely changed California, certainly Central California.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=68cbjlLFl4U&start_radio=1&list=RD68cbjlLFl4U&t=8\u003c/p>\n\u003cp>[Merle Haggard’s] “Okie from Muskogee” really encapsulates those differences. The references to the shaggy long hair in San Francisco, the marijuana smoking. The message was “we’re not like those people.”\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cp>\u003cstrong>On Buck Owens’ “Rags to Rhinestone” story – and how he rebelled against Nashville:\u003c/strong>\u003c/p>\n\u003cp>Buck Owens early on told himself “I am never going to be poor.” And he lived his life trying to be as unlike his childhood as he possibly could be in terms of his financial circumstances.\u003c/p>\n\u003cfigure id=\"attachment_11728206\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11728206\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35393_32MinnieBuck-qut-800x1008.jpg\" alt=\"\" width=\"800\" height=\"1008\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35393_32MinnieBuck-qut-800x1008.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35393_32MinnieBuck-qut-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35393_32MinnieBuck-qut-1020x1286.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35393_32MinnieBuck-qut-952x1200.jpg 952w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35393_32MinnieBuck-qut.jpg 1206w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Visiting performers Tommy Collins and Buck Owens are shown with Minnie Pearl in this photograph taken in May 1954. These photos are part of a 60-photo exhibition coming to the Kern County Museum at the end of February. \u003ccite>(Courtesy of Buck Owens Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Country music out of Nashville became a lot more orchestrated, with strings and beautiful backing harmonies. In Bakersfield, Buck Owens led a sort of rebellion. Rockabilly and rock ‘n’ roll became more of an influence. And as it turned out the American listening public really liked his sound. And that’s kind of how Bakersfield stole that momentum away from Nashville and kind of became the center of the country music universe for a half a generation or so.\u003c/p>\n\u003cfigure id=\"attachment_11728207\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11728207\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35394_36BuckDwiFair-qut-800x634.jpg\" alt=\"\" width=\"800\" height=\"634\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35394_36BuckDwiFair-qut-800x634.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35394_36BuckDwiFair-qut-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35394_36BuckDwiFair-qut-1020x809.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35394_36BuckDwiFair-qut-1200x951.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35394_36BuckDwiFair-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dwight Yoakam and Buck Owens sing “Streets of Bakersfield” in 1988. \u003ccite>(Courtesy of Buck Owens Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On women in the “Bakersfield Sound” scene:\u003c/strong>\u003c/p>\n\u003cp>Jean Shepherd recorded the first hit associated with the Bakersfield sound: a duet with Frank Husky called “Dear John.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Qx2LK8lx7Zo\u003c/p>\n\u003cp>Jean Shepherd was from Visalia, but she kind of gravitated down to Bakersfield, and then went to Nashville. She lived out a very successful career in Nashville as a member of the Grand Ole Opry.\u003c/p>\n\u003cfigure id=\"attachment_11728204\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11728204\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35391_05WillsShepard-qut-800x607.jpg\" alt=\"\" width=\"800\" height=\"607\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35391_05WillsShepard-qut-800x607.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35391_05WillsShepard-qut-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35391_05WillsShepard-qut-1020x774.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35391_05WillsShepard-qut-1200x911.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35391_05WillsShepard-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bob Wills, Billy Mize, Jean Shepard, Johnny Caviello (drummer for Bob Wills), and Bill Woods. \u003ccite>(Courtesy of Kern County Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On how the Bakersfield Sound changed American music:\u003c/strong>\u003c/p>\n\u003cp>You know you hear so many artists today, country music artists, and rock ‘n’ roll artists, who point to people like Buck Owens and Merle Haggard and the music of the Bakersfield sound as being so influential in their careers. They were both great songwriters in very different sorts of ways, and I think that songwriting sensibility kind of seeped into the minds of a lot of songwriters who came later. It kind of got into the national DNA.\u003c/p>\n\u003cp>\u003cstrong>On what we can learn from the “Okie” experience in California:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The story of America is a story of migration. The migration of the Okies is a huge part of American history. People move and they bring their influences to the places they go, and they change those places. The Okies changed California tremendously. Migration is an ongoing thing. The movement of people changes our history.\u003c/p>\n\n",
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"title": "How ‘Okie’ Music Changed California's — and America’s — Musical DNA | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>As part of the California Report Magazine’s look at how migration from Oklahoma changed California, host Sasha Khokha spoke with Robert Price, author of \u003ca href=\"https://heydaybooks.com/book/the-bakersfield-sound/\" rel=\"noopener\" target=\"_blank\">“The Bakersfield Sound: How a Generation of Displaced Okies Revolutionized American Music.”\u003c/a> He’s also a longtime columnist and the former executive editor at The Bakersfield Californian. Excerpts from the interview have been edited for brevity and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>On whether the word “Okie” is a derogatory term:\u003c/strong>\u003c/p>\n\u003cp>At one point in time it was. But over time it became kind of a point of pride [a symbol of their attitude of survival] . Okies called themselves ‘Okies’ and they let everybody else call them Okies as well. Every once in a while you’ll still hear an old-timers say, “Hey that’s not the term we like to hear,” but it’s pretty well accepted now.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/jBeOddejiGw'\n title='//www.youtube.com/embed/jBeOddejiGw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>On what defines the Bakersfield sound:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s not so much a sound as it is a time and place. It was just a unique period of time between about 1949 and 1970 when Bakersfield was the hot spot, the center of the country music universe. The two main practitioners are Buck Owens and Merle Haggard, and their sounds are not really very much alike. Buck has a rockabilly thing going on, will a little bit of norteño thrown in there. Merle Haggard had more of a western swing and a jazz sensibility. The one thing they all had in common besides that locale was the instrument of choice, the Fender Telecaster. It cut through the bass line, cut through the drums and reverberated off the aluminum siding.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fbEstJ98TcM'\n title='//www.youtube.com/embed/fbEstJ98TcM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cp>\u003cstrong>On Merle Haggard’s lyrics about working people:\u003c/strong>\u003c/p>\n\u003cp>He was a blue collar guy. His dad worked for the railroad, and he himself had a lot of manual labor jobs. His audiences were people that worked in the fields picking cotton and picking fruit. He grew up in a converted boxcar in Oildale, adjacent to the Kern River Oil Field, which is one of the biggest oil fields in the lower 48 states. Between oil and agriculture, these were working class people.\u003c/p>\n\u003cfigure id=\"attachment_11728205\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11728205\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35392_18MerlePostcard-qut.jpg\" alt=\"\" width=\"1920\" height=\"1261\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35392_18MerlePostcard-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35392_18MerlePostcard-qut-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35392_18MerlePostcard-qut-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35392_18MerlePostcard-qut-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35392_18MerlePostcard-qut-1200x788.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Some early Capitol Records marketing for Merle Haggard \u003ccite>(Courtesy of Robert Price Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On the ways “Okies” changed California culture:\u003c/strong>\u003c/p>\n\u003cp>The Okies that came west in the mid ’30s through the early ’50s brought with them not just music, but they brought a distinct way of talking. They brought a religious sensibility that hadn’t been on the West Coast before, more of a “praise the Lord out loud” kind of religion. They brought some conservative politics with them. It completely changed California, certainly Central California.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/68cbjlLFl4U'\n title='//www.youtube.com/embed/68cbjlLFl4U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>[Merle Haggard’s] “Okie from Muskogee” really encapsulates those differences. The references to the shaggy long hair in San Francisco, the marijuana smoking. The message was “we’re not like those people.”\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cp>\u003cstrong>On Buck Owens’ “Rags to Rhinestone” story – and how he rebelled against Nashville:\u003c/strong>\u003c/p>\n\u003cp>Buck Owens early on told himself “I am never going to be poor.” And he lived his life trying to be as unlike his childhood as he possibly could be in terms of his financial circumstances.\u003c/p>\n\u003cfigure id=\"attachment_11728206\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11728206\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35393_32MinnieBuck-qut-800x1008.jpg\" alt=\"\" width=\"800\" height=\"1008\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35393_32MinnieBuck-qut-800x1008.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35393_32MinnieBuck-qut-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35393_32MinnieBuck-qut-1020x1286.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35393_32MinnieBuck-qut-952x1200.jpg 952w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35393_32MinnieBuck-qut.jpg 1206w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Visiting performers Tommy Collins and Buck Owens are shown with Minnie Pearl in this photograph taken in May 1954. These photos are part of a 60-photo exhibition coming to the Kern County Museum at the end of February. \u003ccite>(Courtesy of Buck Owens Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Country music out of Nashville became a lot more orchestrated, with strings and beautiful backing harmonies. In Bakersfield, Buck Owens led a sort of rebellion. Rockabilly and rock ‘n’ roll became more of an influence. And as it turned out the American listening public really liked his sound. And that’s kind of how Bakersfield stole that momentum away from Nashville and kind of became the center of the country music universe for a half a generation or so.\u003c/p>\n\u003cfigure id=\"attachment_11728207\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11728207\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35394_36BuckDwiFair-qut-800x634.jpg\" alt=\"\" width=\"800\" height=\"634\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35394_36BuckDwiFair-qut-800x634.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35394_36BuckDwiFair-qut-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35394_36BuckDwiFair-qut-1020x809.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35394_36BuckDwiFair-qut-1200x951.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35394_36BuckDwiFair-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dwight Yoakam and Buck Owens sing “Streets of Bakersfield” in 1988. \u003ccite>(Courtesy of Buck Owens Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On women in the “Bakersfield Sound” scene:\u003c/strong>\u003c/p>\n\u003cp>Jean Shepherd recorded the first hit associated with the Bakersfield sound: a duet with Frank Husky called “Dear John.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Qx2LK8lx7Zo'\n title='//www.youtube.com/embed/Qx2LK8lx7Zo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jean Shepherd was from Visalia, but she kind of gravitated down to Bakersfield, and then went to Nashville. She lived out a very successful career in Nashville as a member of the Grand Ole Opry.\u003c/p>\n\u003cfigure id=\"attachment_11728204\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11728204\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35391_05WillsShepard-qut-800x607.jpg\" alt=\"\" width=\"800\" height=\"607\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35391_05WillsShepard-qut-800x607.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35391_05WillsShepard-qut-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35391_05WillsShepard-qut-1020x774.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35391_05WillsShepard-qut-1200x911.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35391_05WillsShepard-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bob Wills, Billy Mize, Jean Shepard, Johnny Caviello (drummer for Bob Wills), and Bill Woods. \u003ccite>(Courtesy of Kern County Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On how the Bakersfield Sound changed American music:\u003c/strong>\u003c/p>\n\u003cp>You know you hear so many artists today, country music artists, and rock ‘n’ roll artists, who point to people like Buck Owens and Merle Haggard and the music of the Bakersfield sound as being so influential in their careers. They were both great songwriters in very different sorts of ways, and I think that songwriting sensibility kind of seeped into the minds of a lot of songwriters who came later. It kind of got into the national DNA.\u003c/p>\n\u003cp>\u003cstrong>On what we can learn from the “Okie” experience in California:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The story of America is a story of migration. The migration of the Okies is a huge part of American history. People move and they bring their influences to the places they go, and they change those places. The Okies changed California tremendously. Migration is an ongoing thing. The movement of people changes our history.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003cstrong>This was originally published April 27, 2018.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>High school is full of distractions: homework, college applications, dating, friends.\u003c/p>\n\u003cp>But for Joe Fifita and his cousin, Moala Tautuaa, both 18, there’s only music — and it’s been this way ever since they were little, growing up next door to each other in Tonga.\u003c/p>\n\u003cp>They talked to us as part of \u003ca href=\"https://ww2.kqed.org/education/2018/04/18/youth-takeover-of-kqed-news-starts-april-23/\" target=\"_blank\" rel=\"noopener\">KQED’s Youth Takeover week\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11664103\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11664103\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/04/RS30463_IMG_3072-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30463_IMG_3072-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30463_IMG_3072-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30463_IMG_3072-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30463_IMG_3072-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30463_IMG_3072-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30463_IMG_3072-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30463_IMG_3072-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30463_IMG_3072-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30463_IMG_3072-qut-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30463_IMG_3072-qut.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Moala Tautuaa and Joe Fifita (first and second from left) were born in the United States, but grew up in Tonga. \u003ccite>(Courtesy of Moala Tautuaa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cousins are seniors at Menlo-Atherton High School, near Palo Alto. Tautuaa looks like the kind of guy who would bury you in a bear hug; he plays football and has a big smile. Fifita is shorter and speaks softly, except when egged on by his cousin.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The cousins consider themselves more like brothers.\u003c/p>\n\u003cp>They were both born in the United States, but they grew up in Tonga. Tautuaa talks about how Fifita helped him acclimate to the island when he first moved there, and how when Fifita can’t think of the right word in English, Tautuaa often translates for him.\u003c/p>\n\u003cp>“No matter if there’s trouble, he always steps up for me,” Fifita says proudly. “And I always step up for him.”\u003c/p>\n\u003cfigure id=\"attachment_11664105\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11664105\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After high school, Joe Fifita wants to join the Marines. Moala Tautuaa (front) has hopes of playing college football. \u003ccite>(Courtesy of Moala Tautuaa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And they’ve been singing and playing music for as long as they can remember.\u003c/p>\n\u003cp>In Tonga, they attended Tupou College in Toloa and joined the choir in the Free Wesleyan Church of Tonga.\u003c/p>\n\u003cp>Tautuaa says singing in the church choir taught them everything they know about melodies and harmonies.\u003c/p>\n\u003cp>“The kids, we sit in the front and then on the row next to us are all the men. And when we listen to them harmonize … it clicks,” he explains.\u003c/p>\n\u003cp>“And listening to them is like a dictionary for us. It’s like we define every single note when we’re young, and just build on it as we get older.”\u003c/p>\n\u003cp>In addition to singing hymns at church, the two spend a lot of time making beats and writing their own songs.\u003c/p>\n\u003cp>“We mostly talk about, you know, life … just like reading a story,” Fifita says of their original songs, which are usually him rapping over Tautuaa beat-boxing.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>\u003ca href=\"https://ww2.kqed.org/education/2018/04/18/youth-takeover-of-kqed-news-starts-april-23/\" target=\"_blank\" rel=\"noopener\">Youth Takeover of KQED News\u003c/a>\u003c/h3>\n\u003cfigure>\u003ca href=\"https://ww2.kqed.org/education/2018/04/18/youth-takeover-of-kqed-news-starts-april-23/\" target=\"_blank\" rel=\"noopener\">\u003cimg decoding=\"async\" src=\"https://ww2.kqed.org/education/wp-content/uploads/sites/38/2018/04/Youth-Takeover-image-2.png\">\u003c/a>\u003c/figure>\n\u003cp>Youth are taking over KQED! From April 23 – 27, KQED programs will feature stories pitched, produced and reported by youth from Bay Area high schools. Participating programs include \u003ca href=\"https://www.kqed.org/news/program/the-california-report\" target=\"_blank\" rel=\"noopener\">The California Report\u003c/a>, \u003ca href=\"https://www.youtube.com/channel/UC4K10PNjqgGLKA3lo5V8KdQ\" target=\"_blank\" rel=\"noopener\">Above the Noise\u003c/a>, \u003ca href=\"https://www.kqed.org/perspectives\" target=\"_blank\" rel=\"noopener\">Perspectives\u003c/a> and \u003ca href=\"https://www.kqed.org/news/program/kqed-newsroom/\" target=\"_blank\" rel=\"noopener\">KQED Newsroom\u003c/a>.\u003c/p>\n\u003c/aside>\n\u003cp>“Talking about growing up in a poor family and stuff like that, and how we got here in America, life and education.”\u003c/p>\n\u003cp>It’s clear that to them music isn’t just an extracurricular activity. They say it makes them better people, better athletes, better students, better friends. And it also keeps them safe.\u003c/p>\n\u003cp>“I think music definitely helps us not do the bad stuff … it keeps us off the streets,” Tautuaa reflects. “It separates us from all the other, you know, drugs, shootings, massive chaos … it just humbles us.”\u003c/p>\n\u003cp>Fifita agrees: “Music is like a spirit that comes through my mind, and it gives me good ideas. It helps me a lot.”\u003c/p>\n\u003cp>So where do they see themselves in five years?\u003c/p>\n\u003cp>They toss around some ideas: setting up their own music studio, playing college football for Tautuaa, joining the Marines for Fifita.\u003c/p>\n\u003cp>But one thing is certain: Wherever they are, they’ll be singing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" target=\"_blank\" rel=\"noopener\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>This was originally published April 27, 2018.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>High school is full of distractions: homework, college applications, dating, friends.\u003c/p>\n\u003cp>But for Joe Fifita and his cousin, Moala Tautuaa, both 18, there’s only music — and it’s been this way ever since they were little, growing up next door to each other in Tonga.\u003c/p>\n\u003cp>They talked to us as part of \u003ca href=\"https://ww2.kqed.org/education/2018/04/18/youth-takeover-of-kqed-news-starts-april-23/\" target=\"_blank\" rel=\"noopener\">KQED’s Youth Takeover week\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11664103\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11664103\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/04/RS30463_IMG_3072-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30463_IMG_3072-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30463_IMG_3072-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30463_IMG_3072-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30463_IMG_3072-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30463_IMG_3072-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30463_IMG_3072-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30463_IMG_3072-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30463_IMG_3072-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30463_IMG_3072-qut-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30463_IMG_3072-qut.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Moala Tautuaa and Joe Fifita (first and second from left) were born in the United States, but grew up in Tonga. \u003ccite>(Courtesy of Moala Tautuaa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cousins are seniors at Menlo-Atherton High School, near Palo Alto. Tautuaa looks like the kind of guy who would bury you in a bear hug; he plays football and has a big smile. Fifita is shorter and speaks softly, except when egged on by his cousin.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The cousins consider themselves more like brothers.\u003c/p>\n\u003cp>They were both born in the United States, but they grew up in Tonga. Tautuaa talks about how Fifita helped him acclimate to the island when he first moved there, and how when Fifita can’t think of the right word in English, Tautuaa often translates for him.\u003c/p>\n\u003cp>“No matter if there’s trouble, he always steps up for me,” Fifita says proudly. “And I always step up for him.”\u003c/p>\n\u003cfigure id=\"attachment_11664105\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11664105\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After high school, Joe Fifita wants to join the Marines. Moala Tautuaa (front) has hopes of playing college football. \u003ccite>(Courtesy of Moala Tautuaa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And they’ve been singing and playing music for as long as they can remember.\u003c/p>\n\u003cp>In Tonga, they attended Tupou College in Toloa and joined the choir in the Free Wesleyan Church of Tonga.\u003c/p>\n\u003cp>Tautuaa says singing in the church choir taught them everything they know about melodies and harmonies.\u003c/p>\n\u003cp>“The kids, we sit in the front and then on the row next to us are all the men. And when we listen to them harmonize … it clicks,” he explains.\u003c/p>\n\u003cp>“And listening to them is like a dictionary for us. It’s like we define every single note when we’re young, and just build on it as we get older.”\u003c/p>\n\u003cp>In addition to singing hymns at church, the two spend a lot of time making beats and writing their own songs.\u003c/p>\n\u003cp>“We mostly talk about, you know, life … just like reading a story,” Fifita says of their original songs, which are usually him rapping over Tautuaa beat-boxing.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>\u003ca href=\"https://ww2.kqed.org/education/2018/04/18/youth-takeover-of-kqed-news-starts-april-23/\" target=\"_blank\" rel=\"noopener\">Youth Takeover of KQED News\u003c/a>\u003c/h3>\n\u003cfigure>\u003ca href=\"https://ww2.kqed.org/education/2018/04/18/youth-takeover-of-kqed-news-starts-april-23/\" target=\"_blank\" rel=\"noopener\">\u003cimg decoding=\"async\" src=\"https://ww2.kqed.org/education/wp-content/uploads/sites/38/2018/04/Youth-Takeover-image-2.png\">\u003c/a>\u003c/figure>\n\u003cp>Youth are taking over KQED! From April 23 – 27, KQED programs will feature stories pitched, produced and reported by youth from Bay Area high schools. Participating programs include \u003ca href=\"https://www.kqed.org/news/program/the-california-report\" target=\"_blank\" rel=\"noopener\">The California Report\u003c/a>, \u003ca href=\"https://www.youtube.com/channel/UC4K10PNjqgGLKA3lo5V8KdQ\" target=\"_blank\" rel=\"noopener\">Above the Noise\u003c/a>, \u003ca href=\"https://www.kqed.org/perspectives\" target=\"_blank\" rel=\"noopener\">Perspectives\u003c/a> and \u003ca href=\"https://www.kqed.org/news/program/kqed-newsroom/\" target=\"_blank\" rel=\"noopener\">KQED Newsroom\u003c/a>.\u003c/p>\n\u003c/aside>\n\u003cp>“Talking about growing up in a poor family and stuff like that, and how we got here in America, life and education.”\u003c/p>\n\u003cp>It’s clear that to them music isn’t just an extracurricular activity. They say it makes them better people, better athletes, better students, better friends. And it also keeps them safe.\u003c/p>\n\u003cp>“I think music definitely helps us not do the bad stuff … it keeps us off the streets,” Tautuaa reflects. “It separates us from all the other, you know, drugs, shootings, massive chaos … it just humbles us.”\u003c/p>\n\u003cp>Fifita agrees: “Music is like a spirit that comes through my mind, and it gives me good ideas. It helps me a lot.”\u003c/p>\n\u003cp>So where do they see themselves in five years?\u003c/p>\n\u003cp>They toss around some ideas: setting up their own music studio, playing college football for Tautuaa, joining the Marines for Fifita.\u003c/p>\n\u003cp>But one thing is certain: Wherever they are, they’ll be singing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" target=\"_blank\" rel=\"noopener\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "songwriter-in-a-cage-meet-glen-sherley-johnny-cashs-friend-in-folsom",
"title": "Songwriter in a Cage: Meet Glen Sherley, Johnny Cash’s Friend in Folsom",
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"headTitle": "Songwriter in a Cage: Meet Glen Sherley, Johnny Cash’s Friend in Folsom | KQED",
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"content": "\u003cp>\u003cem>\u003cstrong>This was originally published Jan. 23, 2018.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Fifty years ago this month, Johnny Cash performed at Folsom Prison to an audience of 1,000 convicts. The recording of the show, \u003ca href=\"https://www.rollingstone.com/music/lists/50-greatest-live-albums-of-all-time-20150429/johnny-cash-at-folsom-prison-1968-20150427\" target=\"_blank\" rel=\"noopener\">“Live at Folsom Prison,”\u003c/a> went on to become a landmark album.\u003c/p>\n\u003cp>It solidified Cash’s image as a champion of the downtrodden, revitalized his career and forever linked him with those behind bars.\u003c/p>\n\u003cp>But the singer’s connection with Folsom went far beyond a triple platinum release. It was there that he met a jailhouse songwriter and career criminal named \u003ca href=\"https://en.wikipedia.org/wiki/Glen_Sherley\" target=\"_blank\" rel=\"noopener\">Glen Sherley\u003c/a>. Their friendship would have a profound effect on both men.\u003c/p>\n\u003cp>It all begins on the morning of Jan. 18, 1968. Johnny Cash is onstage under the raw fluorescent lights in mess hall #2 at Folsom Prison. Cash is giving the convicts what they want, running through numbers like “Folsom Prison Blues”, “Dark As a Dungeon,” “I Still Miss Someone,” “Send a Picture of Mother.”\u003c/p>\n\u003cfigure id=\"attachment_11643192\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11643192\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/greystone-chapel.jpg\" alt=\"Greystone Chapel at Folsom Prison. The granite building was the inspiration for Glen Sherley’s song of the same title.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/greystone-chapel.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/greystone-chapel-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/greystone-chapel-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/greystone-chapel-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/greystone-chapel-520x293.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greystone Chapel at Folsom Prison. The granite building was the inspiration for Glen Sherley’s song of the same title. \u003ccite>(Kristina Khokhobashvili/California Department of Corrections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Standing tall up there, dressed in black, sweat rolling down his cheek, Cash squints through the choking haze of cigarette smoke at a prisoner in the front row with a chiseled face, a high pompadour, and a Pall Mall dangling from his mouth.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This is Glen Sherley, California state convict A-59795C, a repeat offender doing a life sentence for armed robbery. He has no idea what’s about to happen, no idea his life is about to change forever.\u003c/p>\n\u003cp>From the stage, Cash pauses to introduce the next and final song.\u003c/p>\n\u003cp>“This next song was written by a man right here in Folsom Prison, and last night was the first time I’ve ever sung this song. Anyway, this song was written by our friend Glen Sherley.”\u003c/p>\n\u003cp>The room erupts, Sherley’s inmate brothers clapping, whistling and hooting for their man as he beams in shock and wonder. Cash kicks the band into “Greystone Chapel.”\u003c/p>\n\u003cp>\u003cem> Inside the walls of prison, my body may be\u003c/em>\u003cbr>\n\u003cem> But my Lord has set my heart free\u003c/em>\u003cbr>\n\u003cem> There’s a grey stone chapel here at Folsom\u003c/em>\u003cbr>\n\u003cem> A house of worship in this den of sin\u003c/em>\u003cbr>\n\u003cem> You wouldn’t think that God had a place here at Folsom\u003c/em>\u003cbr>\n\u003cem> But He’s saved the soul of many lost men\u003c/em>\u003c/p>\n\u003cp>Cash played two sets at Folsom that day and closed both with Sherley’s raw anthem to the small, sacred building.\u003c/p>\n\u003cp>“If you took the Glen Sherley component out of that record there would be a big hole,” says country musician Marty Stuart. He played with Cash in the ‘80s, and Johnny introduced him to Sherley many years ago. “To me that was kind of the heart of that record. That was a great gesture, but it was also a great song and a deserving song.”\u003c/p>\n\u003cp>So how did this guy who’d spent most of his adult life buried in the toughest prisons California had to offer — Chino, Soledad, San Quentin and Folsom — write a song that ended up on one of the most revered and powerful albums ever?\u003c/p>\n\u003cp>It all began with a behind-bars demo.\u003c/p>\n\u003cp>Sherley was friendly with the prison DJ, convicted killer Earl Green. Green loved Johnny Cash, and convinced Glen to write something in Cash’s style. Thus was born “Greystone Chapel.” Green recorded Sherley’s song, and — by all accounts without his knowledge — gave the tape to the Rev. Floyd Gressett, a traveling chaplain who brought the Good Word to the incarcerated. He also had a church in Ventura where Cash, who lived in nearby Casitas Springs, was known to darken the door on Sunday mornings.\u003c/p>\n\u003cp>The evening before the Folsom show, Cash was rehearsing in a Sacramento hotel when the Rev. Floyd dropped by with that tape straight from the big house. Cash loved what he heard, and performed the song the next morning onstage at the prison.\u003c/p>\n\u003cp>Sherley’s song was a crowd pleaser. It put the spotlight on a humble prisoner, and would be a savvy promo for the release.\u003c/p>\n\u003cp>Most artists would have left it at that and moved on.\u003c/p>\n\u003cp>But Johnny Cash was not most artists.\u003c/p>\n\u003cp>By 1968, he was getting a handle on his years of drug and alcohol abuse, resurrecting his career, and renewing his deep faith in the Lord. When he met Glen Sherley, Cash was meeting a kindred spirit, a darker version of himself, had he made slightly different life choices.\u003c/p>\n\u003cp>“Oh, I think it was just a country boy thing, just a Southern boy thing,” says Marty Stuart. “You see a buddy down in the ditch, you stick out your hand. They helped each other, I think they shored each other up. I think it was the best of intentions.”\u003c/p>\n\u003cp>Nashville pedal steel master Lloyd Green, who recorded with both Sherley and Cash, has a slightly different take on the relationship.\u003c/p>\n\u003cp>“It was that messianic complex thing kicking into high gear,” he says. “’I’m going to save this guy, and in the process save myself.’ [Cash] looked at it like, I’ve been redeemed because I was special. He really felt he was a special man. And he said it, you know, more than once. He might have been.”\u003c/p>\n\u003cp>Cash was finding salvation. Now, with the help of God and Nashville, he was going to save Glen Sherley, too.\u003c/p>\n\u003cp>But what brought Sherley to this point?\u003c/p>\n\u003cp>“I was born in state of Oklahoma in ’36. I think it was the latter part of ’38 when the whole family moved to California,” he said in a 1971 interview with CBS News. “If you read Steinbeck’s book the ‘Grapes of Wrath’ it kind of fits that, you know? Mattresses on the car, buckets on the side, stopping getting water. Got to California, I started school.”\u003c/p>\n\u003cp>School didn’t go so well. In his teens, Sherley started getting in trouble with the law. Over the years, he developed lifelong drug and alcohol addictions. Despite having a dedicated wife and two young children, by 1960 he would be in and out of prison for most of the next decade. So, what went wrong?\u003c/p>\n\u003cfigure id=\"attachment_11643066\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11643066\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/RS28919_Ronda.Tank-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28919_Ronda.Tank-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28919_Ronda.Tank-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28919_Ronda.Tank-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28919_Ronda.Tank-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28919_Ronda.Tank-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28919_Ronda.Tank-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28919_Ronda.Tank-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28919_Ronda.Tank-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28919_Ronda.Tank-qut-520x390.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Retired Tennessee State Trooper Ronda Sherley, daughter of Glen Sherley, at home in Nashville with her dog, Tank. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’ve asked myself that a lot of times,” says his daughter, Ronda Sherley, a retired Tennessee state trooper living in Nashville. “Because if you knew my grandmother and his brothers and sisters, they were all hardworking people, they were all very responsible, very honest people. But I guess that’s something you don’t really figure out. That was just something in him.”\u003c/p>\n\u003cp>In that 1971 interview, Sherley shed some light on his criminal motivation.\u003c/p>\n\u003cp>“What turned me to committing robberies, I think, well, the hardest thing for me to admit about five years ago to myself was the fact that I was in prison because I wanted to be in prison. …You’re fed and you’re housed and you’re clothed and you don’t have to worry about where your next meal is coming from. There’s no responsibility there.”\u003c/p>\n\u003cp>Sherley was not a criminal mastermind. He’d get loaded and impulsive, and once robbed a Burbank ice cream company of $28 using a toy gun.\u003c/p>\n\u003cp>In his brief moments of civilian life, he’d listen to the radio — George Jones was a favorite — and strum a few chords on a beat-up six string.\u003c/p>\n\u003cp>“I can remember him playing guitar and singing in the living room when we were going to bed,” says Ronda. “But he would be in and out, in and out [of prison] so I don’t have a whole lot of memories as a child of him being there.”\u003c/p>\n\u003cp>“You got to do something in prison or go insane,” said Glen in ‘71. “You can do it gambling, you can do it hustling, you can do it shooting narcotics or taking pills, but you’ve got to have something going to let you face that next day.”\u003c/p>\n\u003cfigure id=\"attachment_11643187\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11643187\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/cash3.jpg\" alt=\"Folsom Prison’s imposing gatehouse. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/cash3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/cash3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/cash3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/cash3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/cash3-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Folsom Prison’s imposing gatehouse. \u003ccite>(Kristina Khokhobashvili/California Department of Corrections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What Sherley did was write songs.\u003c/p>\n\u003cp>After the Folsom performance, the “\u003ca href=\"https://en.wikipedia.org/wiki/Man_in_Black_(song)\" target=\"_blank\" rel=\"noopener\">Man In Black\u003c/a>” was on a mission to set Sherley free. He stepped in with connections that included Gov. Ronald Reagan and the Rev. Billy Graham, and got Sherley transferred to the minimum-security prison at Vacaville. Cash also landed him a record deal.\u003c/p>\n\u003cp>Lloyd Green was one of the session players imported from Tennessee to back up Sherley on his self-named album, recorded live in Vacaville while he was still doing time.\u003c/p>\n\u003cp>“Glen was the most humble, nicest guy in the world,” recalls Green. “He was just so grateful, you know? It was a major day, as it turned out, it was a major event in his life.\u003c/p>\n\u003cp>“Glen was treated as the hero by his friends in prison and it was a wonderful thing to see,” Green continues. “It was a very emotional thing for me because I just I got caught up in it, too. and I thought, ‘Wow, this is terrible this man spent a large portion of his adult life in prison.’ ”\u003c/p>\n\u003cp>In March 1971 Glen Sherley was paroled. His record was released a few weeks later and climbed up the Billboard country charts to #63 — not a hit, but nothing to be ashamed of. Cash moved him to Nashville, gave him a spot on his road show and signed him to a publishing deal.\u003c/p>\n\u003cfigure id=\"attachment_11643065\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11643065\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/RS28921_Glen.kids-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28921_Glen.kids-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28921_Glen.kids-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28921_Glen.kids-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28921_Glen.kids-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28921_Glen.kids-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28921_Glen.kids-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28921_Glen.kids-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28921_Glen.kids-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28921_Glen.kids-qut-520x390.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former inmate and songwriter Glen Sherley after being released from prison in 1971 with his children Ronda and Bruce in Nashville. \u003ccite>(Courtesy Ronda Sherley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But after about a year and a half of traveling and performing with Cash, including a gig at the Los Angeles Forum in front of a crowd of 17,000 people, things started going south for Sherley.\u003c/p>\n\u003cp>“This is a big statement, but to get turned out of the California penal system and to be put into the world of hillbilly show business, good ol’ boy show business, there ain’t a hell of a lot of difference in a lot of ways,” says Marty Stuart. “You just swapping jailhouses.”\u003c/p>\n\u003cp>“He knew how to be in prison,” Ronda says. “He knew how to be someone in prison. He didn’t know how to be Glen Sherley out here.”\u003c/p>\n\u003cp>Ultimately, he couldn’t play the Nashville game, couldn’t adjust to life beyond a cell. Sherley’s addictions kicked in, his behavior became unpredictable and dangerous, and when he threatened a band member, that was the last straw.\u003c/p>\n\u003cp>Though it crushed him, Cash finally had to cut his friend loose.\u003c/p>\n\u003cp>For the next several years, Sherley drifted and drugged. His only goal was to stay out of prison. By 1978 — just six years after his album was released — he was living in the cab of a truck on a cattle farm near Salinas. In May of that year, he took his own life at the age of 42.\u003c/p>\n\u003cp>“I’ve heard a lot of people say, ‘Well, do you think John [Cash] should have taken more responsibility?’ ” says Ronda Sherley. “He did his job. He gave him a job, he gave him a home. He was his friend. He gave him advice, but Dad was a grown man and chose to take it or not. So it was never John’s job to guide my father through life.”\u003c/p>\n\u003cp>She still listens to her father’s music, a long gone voice that continues to speak to her.\u003c/p>\n\u003cp>“The words, the way he writes … you think of somebody who’s in prison, you think, oh he’s a bad person,” says Ronda. “But somebody who’s a bad person couldn’t put those words together. They couldn’t feel what it takes to put those words together.”\u003c/p>\n\u003cp>In the last five decades, the Johnny Cash “Live at Folsom Prison” album has sold more than 3 million copies, and Johnny Cash is still probably the most recognized name in country music.\u003c/p>\n\u003cp>And Glen Sherley? Now you know who he is, too.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>More of Peter Gilstrap’s reporting on Glen Sherley will be featured as part of a music documentary series, presented by \u003ca href=\"https://www.kcrw.com/\" target=\"_blank\" rel=\"noopener\">KCRW\u003c/a>, this spring.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Johnny Cash's visit to Folsom Prison is most known for his iconic performance, but his meeting with a prisoner had a lasting effect. ",
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"title": "Songwriter in a Cage: Meet Glen Sherley, Johnny Cash’s Friend in Folsom | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>This was originally published Jan. 23, 2018.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Fifty years ago this month, Johnny Cash performed at Folsom Prison to an audience of 1,000 convicts. The recording of the show, \u003ca href=\"https://www.rollingstone.com/music/lists/50-greatest-live-albums-of-all-time-20150429/johnny-cash-at-folsom-prison-1968-20150427\" target=\"_blank\" rel=\"noopener\">“Live at Folsom Prison,”\u003c/a> went on to become a landmark album.\u003c/p>\n\u003cp>It solidified Cash’s image as a champion of the downtrodden, revitalized his career and forever linked him with those behind bars.\u003c/p>\n\u003cp>But the singer’s connection with Folsom went far beyond a triple platinum release. It was there that he met a jailhouse songwriter and career criminal named \u003ca href=\"https://en.wikipedia.org/wiki/Glen_Sherley\" target=\"_blank\" rel=\"noopener\">Glen Sherley\u003c/a>. Their friendship would have a profound effect on both men.\u003c/p>\n\u003cp>It all begins on the morning of Jan. 18, 1968. Johnny Cash is onstage under the raw fluorescent lights in mess hall #2 at Folsom Prison. Cash is giving the convicts what they want, running through numbers like “Folsom Prison Blues”, “Dark As a Dungeon,” “I Still Miss Someone,” “Send a Picture of Mother.”\u003c/p>\n\u003cfigure id=\"attachment_11643192\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11643192\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/greystone-chapel.jpg\" alt=\"Greystone Chapel at Folsom Prison. The granite building was the inspiration for Glen Sherley’s song of the same title.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/greystone-chapel.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/greystone-chapel-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/greystone-chapel-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/greystone-chapel-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/greystone-chapel-520x293.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greystone Chapel at Folsom Prison. The granite building was the inspiration for Glen Sherley’s song of the same title. \u003ccite>(Kristina Khokhobashvili/California Department of Corrections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Standing tall up there, dressed in black, sweat rolling down his cheek, Cash squints through the choking haze of cigarette smoke at a prisoner in the front row with a chiseled face, a high pompadour, and a Pall Mall dangling from his mouth.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is Glen Sherley, California state convict A-59795C, a repeat offender doing a life sentence for armed robbery. He has no idea what’s about to happen, no idea his life is about to change forever.\u003c/p>\n\u003cp>From the stage, Cash pauses to introduce the next and final song.\u003c/p>\n\u003cp>“This next song was written by a man right here in Folsom Prison, and last night was the first time I’ve ever sung this song. Anyway, this song was written by our friend Glen Sherley.”\u003c/p>\n\u003cp>The room erupts, Sherley’s inmate brothers clapping, whistling and hooting for their man as he beams in shock and wonder. Cash kicks the band into “Greystone Chapel.”\u003c/p>\n\u003cp>\u003cem> Inside the walls of prison, my body may be\u003c/em>\u003cbr>\n\u003cem> But my Lord has set my heart free\u003c/em>\u003cbr>\n\u003cem> There’s a grey stone chapel here at Folsom\u003c/em>\u003cbr>\n\u003cem> A house of worship in this den of sin\u003c/em>\u003cbr>\n\u003cem> You wouldn’t think that God had a place here at Folsom\u003c/em>\u003cbr>\n\u003cem> But He’s saved the soul of many lost men\u003c/em>\u003c/p>\n\u003cp>Cash played two sets at Folsom that day and closed both with Sherley’s raw anthem to the small, sacred building.\u003c/p>\n\u003cp>“If you took the Glen Sherley component out of that record there would be a big hole,” says country musician Marty Stuart. He played with Cash in the ‘80s, and Johnny introduced him to Sherley many years ago. “To me that was kind of the heart of that record. That was a great gesture, but it was also a great song and a deserving song.”\u003c/p>\n\u003cp>So how did this guy who’d spent most of his adult life buried in the toughest prisons California had to offer — Chino, Soledad, San Quentin and Folsom — write a song that ended up on one of the most revered and powerful albums ever?\u003c/p>\n\u003cp>It all began with a behind-bars demo.\u003c/p>\n\u003cp>Sherley was friendly with the prison DJ, convicted killer Earl Green. Green loved Johnny Cash, and convinced Glen to write something in Cash’s style. Thus was born “Greystone Chapel.” Green recorded Sherley’s song, and — by all accounts without his knowledge — gave the tape to the Rev. Floyd Gressett, a traveling chaplain who brought the Good Word to the incarcerated. He also had a church in Ventura where Cash, who lived in nearby Casitas Springs, was known to darken the door on Sunday mornings.\u003c/p>\n\u003cp>The evening before the Folsom show, Cash was rehearsing in a Sacramento hotel when the Rev. Floyd dropped by with that tape straight from the big house. Cash loved what he heard, and performed the song the next morning onstage at the prison.\u003c/p>\n\u003cp>Sherley’s song was a crowd pleaser. It put the spotlight on a humble prisoner, and would be a savvy promo for the release.\u003c/p>\n\u003cp>Most artists would have left it at that and moved on.\u003c/p>\n\u003cp>But Johnny Cash was not most artists.\u003c/p>\n\u003cp>By 1968, he was getting a handle on his years of drug and alcohol abuse, resurrecting his career, and renewing his deep faith in the Lord. When he met Glen Sherley, Cash was meeting a kindred spirit, a darker version of himself, had he made slightly different life choices.\u003c/p>\n\u003cp>“Oh, I think it was just a country boy thing, just a Southern boy thing,” says Marty Stuart. “You see a buddy down in the ditch, you stick out your hand. They helped each other, I think they shored each other up. I think it was the best of intentions.”\u003c/p>\n\u003cp>Nashville pedal steel master Lloyd Green, who recorded with both Sherley and Cash, has a slightly different take on the relationship.\u003c/p>\n\u003cp>“It was that messianic complex thing kicking into high gear,” he says. “’I’m going to save this guy, and in the process save myself.’ [Cash] looked at it like, I’ve been redeemed because I was special. He really felt he was a special man. And he said it, you know, more than once. He might have been.”\u003c/p>\n\u003cp>Cash was finding salvation. Now, with the help of God and Nashville, he was going to save Glen Sherley, too.\u003c/p>\n\u003cp>But what brought Sherley to this point?\u003c/p>\n\u003cp>“I was born in state of Oklahoma in ’36. I think it was the latter part of ’38 when the whole family moved to California,” he said in a 1971 interview with CBS News. “If you read Steinbeck’s book the ‘Grapes of Wrath’ it kind of fits that, you know? Mattresses on the car, buckets on the side, stopping getting water. Got to California, I started school.”\u003c/p>\n\u003cp>School didn’t go so well. In his teens, Sherley started getting in trouble with the law. Over the years, he developed lifelong drug and alcohol addictions. Despite having a dedicated wife and two young children, by 1960 he would be in and out of prison for most of the next decade. So, what went wrong?\u003c/p>\n\u003cfigure id=\"attachment_11643066\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11643066\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/RS28919_Ronda.Tank-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28919_Ronda.Tank-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28919_Ronda.Tank-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28919_Ronda.Tank-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28919_Ronda.Tank-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28919_Ronda.Tank-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28919_Ronda.Tank-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28919_Ronda.Tank-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28919_Ronda.Tank-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28919_Ronda.Tank-qut-520x390.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Retired Tennessee State Trooper Ronda Sherley, daughter of Glen Sherley, at home in Nashville with her dog, Tank. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’ve asked myself that a lot of times,” says his daughter, Ronda Sherley, a retired Tennessee state trooper living in Nashville. “Because if you knew my grandmother and his brothers and sisters, they were all hardworking people, they were all very responsible, very honest people. But I guess that’s something you don’t really figure out. That was just something in him.”\u003c/p>\n\u003cp>In that 1971 interview, Sherley shed some light on his criminal motivation.\u003c/p>\n\u003cp>“What turned me to committing robberies, I think, well, the hardest thing for me to admit about five years ago to myself was the fact that I was in prison because I wanted to be in prison. …You’re fed and you’re housed and you’re clothed and you don’t have to worry about where your next meal is coming from. There’s no responsibility there.”\u003c/p>\n\u003cp>Sherley was not a criminal mastermind. He’d get loaded and impulsive, and once robbed a Burbank ice cream company of $28 using a toy gun.\u003c/p>\n\u003cp>In his brief moments of civilian life, he’d listen to the radio — George Jones was a favorite — and strum a few chords on a beat-up six string.\u003c/p>\n\u003cp>“I can remember him playing guitar and singing in the living room when we were going to bed,” says Ronda. “But he would be in and out, in and out [of prison] so I don’t have a whole lot of memories as a child of him being there.”\u003c/p>\n\u003cp>“You got to do something in prison or go insane,” said Glen in ‘71. “You can do it gambling, you can do it hustling, you can do it shooting narcotics or taking pills, but you’ve got to have something going to let you face that next day.”\u003c/p>\n\u003cfigure id=\"attachment_11643187\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11643187\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/cash3.jpg\" alt=\"Folsom Prison’s imposing gatehouse. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/cash3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/cash3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/cash3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/cash3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/cash3-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Folsom Prison’s imposing gatehouse. \u003ccite>(Kristina Khokhobashvili/California Department of Corrections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What Sherley did was write songs.\u003c/p>\n\u003cp>After the Folsom performance, the “\u003ca href=\"https://en.wikipedia.org/wiki/Man_in_Black_(song)\" target=\"_blank\" rel=\"noopener\">Man In Black\u003c/a>” was on a mission to set Sherley free. He stepped in with connections that included Gov. Ronald Reagan and the Rev. Billy Graham, and got Sherley transferred to the minimum-security prison at Vacaville. Cash also landed him a record deal.\u003c/p>\n\u003cp>Lloyd Green was one of the session players imported from Tennessee to back up Sherley on his self-named album, recorded live in Vacaville while he was still doing time.\u003c/p>\n\u003cp>“Glen was the most humble, nicest guy in the world,” recalls Green. “He was just so grateful, you know? It was a major day, as it turned out, it was a major event in his life.\u003c/p>\n\u003cp>“Glen was treated as the hero by his friends in prison and it was a wonderful thing to see,” Green continues. “It was a very emotional thing for me because I just I got caught up in it, too. and I thought, ‘Wow, this is terrible this man spent a large portion of his adult life in prison.’ ”\u003c/p>\n\u003cp>In March 1971 Glen Sherley was paroled. His record was released a few weeks later and climbed up the Billboard country charts to #63 — not a hit, but nothing to be ashamed of. Cash moved him to Nashville, gave him a spot on his road show and signed him to a publishing deal.\u003c/p>\n\u003cfigure id=\"attachment_11643065\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11643065\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/RS28921_Glen.kids-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28921_Glen.kids-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28921_Glen.kids-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28921_Glen.kids-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28921_Glen.kids-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28921_Glen.kids-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28921_Glen.kids-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28921_Glen.kids-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28921_Glen.kids-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28921_Glen.kids-qut-520x390.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former inmate and songwriter Glen Sherley after being released from prison in 1971 with his children Ronda and Bruce in Nashville. \u003ccite>(Courtesy Ronda Sherley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But after about a year and a half of traveling and performing with Cash, including a gig at the Los Angeles Forum in front of a crowd of 17,000 people, things started going south for Sherley.\u003c/p>\n\u003cp>“This is a big statement, but to get turned out of the California penal system and to be put into the world of hillbilly show business, good ol’ boy show business, there ain’t a hell of a lot of difference in a lot of ways,” says Marty Stuart. “You just swapping jailhouses.”\u003c/p>\n\u003cp>“He knew how to be in prison,” Ronda says. “He knew how to be someone in prison. He didn’t know how to be Glen Sherley out here.”\u003c/p>\n\u003cp>Ultimately, he couldn’t play the Nashville game, couldn’t adjust to life beyond a cell. Sherley’s addictions kicked in, his behavior became unpredictable and dangerous, and when he threatened a band member, that was the last straw.\u003c/p>\n\u003cp>Though it crushed him, Cash finally had to cut his friend loose.\u003c/p>\n\u003cp>For the next several years, Sherley drifted and drugged. His only goal was to stay out of prison. By 1978 — just six years after his album was released — he was living in the cab of a truck on a cattle farm near Salinas. In May of that year, he took his own life at the age of 42.\u003c/p>\n\u003cp>“I’ve heard a lot of people say, ‘Well, do you think John [Cash] should have taken more responsibility?’ ” says Ronda Sherley. “He did his job. He gave him a job, he gave him a home. He was his friend. He gave him advice, but Dad was a grown man and chose to take it or not. So it was never John’s job to guide my father through life.”\u003c/p>\n\u003cp>She still listens to her father’s music, a long gone voice that continues to speak to her.\u003c/p>\n\u003cp>“The words, the way he writes … you think of somebody who’s in prison, you think, oh he’s a bad person,” says Ronda. “But somebody who’s a bad person couldn’t put those words together. They couldn’t feel what it takes to put those words together.”\u003c/p>\n\u003cp>In the last five decades, the Johnny Cash “Live at Folsom Prison” album has sold more than 3 million copies, and Johnny Cash is still probably the most recognized name in country music.\u003c/p>\n\u003cp>And Glen Sherley? Now you know who he is, too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>More of Peter Gilstrap’s reporting on Glen Sherley will be featured as part of a music documentary series, presented by \u003ca href=\"https://www.kcrw.com/\" target=\"_blank\" rel=\"noopener\">KCRW\u003c/a>, this spring.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As the needle drops on an LP by Los Tigres del Norte, a group of female DJs in Oakland let out their \u003cem>gritos\u003c/em> on the dance floor. It’s their rallying cry, telling the crowd these women are here to combat gender and cultural barriers — one record at a time.\u003c/p>\n\u003cp>“I come from, like, a Mexican household where I was not allowed to go out,” says Mar Velez, who goes by the name DJ Marvelouz. Compared to her brothers, she says, she felt really restricted growing up.\u003c/p>\n\u003cp>Now, DJ Marvelouz is center stage with her arms in the air, hyping up the crowd with Kendrick Lamar’s “Loyalty.”\u003c/p>\n\u003cp>This switch from norteño to hip-hop fazes no one. Everyone continues with their best two-step. Then things start to get real sweaty. “\u003ca href=\"https://www.youtube.com/watch?v=HTXWlrkLI6g\">Quiero Bailar,\u003c/a>” by the diva of reggaeton, Ivy Queen, booms from the speakers, while the disco ball reflects off the gold hoop earrings worn by many in the crowd.\u003c/p>\n\u003cp>For people of color who feel excluded from Oakland’s changing culture, this night on the dance floor at downtown’s \u003ca href=\"https://legionnairesaloon.com/\">Legionnaire Saloon \u003c/a>gives them a space to be unapologetically themselves.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Big shoutout to all the black and brown bodies in this building! Celebrate yourself, celebrate your worth!” shouts one DJ through the speakers.\u003c/p>\n\u003cp>There’s no dress code, no cover, no lines and zero tolerance for harassment as this collective of vinyl-loving women spins their jams: new wave, cumbia, house, soul.\u003c/p>\n\u003cp>It’s a dance party set to a bilingual soundtrack that reminds me of my childhood: chores on Saturday mornings, cruising to oldies, and dancing at quinceañera parties. As a teenager, I was embarrassed that my family only listened to funk, oldies and music in Spanish. But on tonight’s dance floor, I feel seen among other Latinx millennials who grew up like me.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A version of this story originally aired on \u003ca href=\"https://www.kalw.org/post/crushing-gender-and-cultural-barriers-chulita-vinyl-club#stream/0\">KALW\u003c/a>\u003c/em>.\u003c/p>\n\n",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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